The People who have Ripped me off "

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In 2008 I got a call from an old friend Sam Kelly asking me if I would be interested in being part of a Cymand’e reunion I said lets meet up and talk about it, when we got together he explained that there was an opportunity for us to do a UK tour and that we would be part of the BBC’s Soul Britannia concert at the barbican that would be filmed for broadcast on BBC2 as part of the celebration of British black music.

He informed me that Mike Rose and Pablo Gonzales wanted to be a part of it but that Patrick Patterson and Steve Scipio did not want to take part, the show and the tour was great so we decided to do some more shows but Patrick and Steve insisted we used the name Cymande11 the four of us were original members of Cymand’e but Patrick  Patterson and Steve Scipio own the name so we agreed to go out as Cymande11 and the response was incredible however when Patrick and Steve found out how great we were doing they decided we could no longer call ourselves Cymande11 because they wanted to capitalise on the success we created so they went into the studio and recorded a new Cymand’ealbum.

Sam had two bands going, there was Sam Kelly’s Blues Band and Sam Kelly’s Station House he asked me If would be part of his Station House and I agreed the band consisted of Paul Jobson Jerome Marcus Spy Austin Tony Qunta and myself later on we would add another guitarist Michael Carey who would fill in when Tony was unavailable later we would change that so they would play alternative gigs

Sometime later we were returning from a tour in Europe when Sam floated the idea that we should use another name and play some Reggae music that would be some of my original songs from my Where Is Your Love and Children Of Rastafari albums and some Cymand’e songs in a reggae style that’s when Fowokan was born we went into the studio and recorded the Shadow Of Rasta album half the songs were mine and the rest was Cymand’e songs, the promotion for the album was based around me being in the band and the link Sam and I with Cymand’e with that we started  to tour in Europe with some UK gigs, for the past six or seven years that’s what we’ve been doing, not making any money sometime but we were having a great time out there.

The first time the alarm bells started to ring was when Sam decided to sack Spy Austin from the band without any consultation with the rest of the band members, we allowed him to be the leader of the band but it was our band not another Sam Kelly’s Fowokan he had no right to do what he did I blame myself for not speaking out and putting him in his place, we should not have allowed him to dictate to the band, it was a collective choice to form Fowokan so we all own it.

I always made it known that if I stopped enjoying being in the band I would not stay I was not making any money in fact I lost money on every tour we did but I love what we were doing as a band and I believed we would eventually get the success we deserved, in July this year I discovered quit by chance that I had Prostate Cancer and would have to undergo an operation I informed the band that I would be out of action for at least six weeks after my surgery , we had an up-coming gig that I would not be able to do so I thought that  Sam would get in touch with the promoter and explain the situation and offer to do the gig as Station House but he did not do that he went ahead and done the gig as Fowokan without me, now it’s not about my ego it is about his integrity and that of the band the people who come to see Fowokan expect to see Jimmy Lindsay as lead singer that is how the band is promoted I was the face of Fowokan, you are disrespecting the people who pay good money to come and see the band expecting me to be there, what I also found disgusting is the fact that he dumped Michael Carey from the gig and brought in another guitarist who knew and could sing more reggae songs, this was proof  that he is a user of people who he would discard  when he had no further use for them in my opinion that makes him a despicable individual it is a total betrayal of our sixty year friendship I could not be a part of this mercenary situation so I had to leave he was someone I loved like a brother you can’t imagine how disappointed I am I can only hope that one day he will take a look in the mirror and see himself for what he has become  


                                          Patrick Patterson and Steve Scipio Cymand'e ripped me off



My first album was as lead singer with one of the best group in the country at that time. In the middle of recording ‘The Promised Heights’ they parted company with the original singer Joey Dee (R.I.P) and I were asked to join the band and finish recording the album. Side one featured Joey and side two was I on lead vocals.
Our record company arranged a press reception at Ronni Scott's Jazz Club to launch the album and we played a fantastic live set for them. In the following issue of Blues and Soul the headline read ‘Cymand'e blows the roof off Ronni Scott's’ with a full page photograph of which 70% was me but Patrick was not in it. That was the picture that would seal my fate with Cymand'e.
As front man in the band my job is to keep the attention and entertain our audience. If I am doing my job then they will be looking at me most of the time and the photographers will be taking photos of me, so it was no big thing to me or the other members of the band when the Blues and Soul photos was published. Not so for Patrick Patterson (band leader). That’s when I started to understand what he was all about. He wanted to be the front man in the group and the centre of attention. As the front man, I was standing in his way so he found an excuse to get rid of me.
I did not expect to receive an equal share of the royalties from the Promised Heights album because I only sang on one side of it with Joey on the other, but I did expect to get what was due to me however Patrick Patterson and Steve Scipio (who own the name Cymand’e) decided that they needed my share of the royalties more than I did so they paid me nothing at all.


In 2006 I got a phone call from an ex-Cymand'e member asking if I would be interested in a Cymand’e reunion gig.  I was told Patrick and Steve don’t want to be a part of it but had no objection as long as we did not use the name as it was, but agreed we could use the name Cymande11. I was one of four of the original members of Cymand’e and we got together with other musicians and played a fantastic gig at the London Jazz Festival. That one gig led to a UK tour and offers started coming in. We had rekindled the Cymand’e fire but little did we know, what would bestow us.


The next thing we knew, we received an injunction from Patrick Patterson telling us we can’t use the name anymore. He and Steve Scipio then arrange to go into the studio with the ex-Cymand’e member (I was not invited) to record a new Cymande album.  I can’t wait to hear this album and I am confident it would not be an original Cymande album because the two things it would not be recorded with the love and passion we once
shared for the music. All Patrick and Steve will be thinking about is how much they could make from it. I am the last original voice of Cymande so how could it be an original Cymande album without my voice and that would never happen as I could not to give them the opportunity to screw me twice.

 One of the ex-sax players took Patrick to court in an attempt to get his royalties. Patrick told the court that he had removed the part that the ex-player had played.  Patrick won because the ex-player could not prove which of the sax sound was his. I could have taken him and Steve Scipio to court because my voice is on that first album and they can’t take it off. However, I believe if you try to do good and good will follow you.  I can walk with
my head held high in my community and I don’t have to be looking behind me every few yards which is very important to me.


Some years later I was recording a song called ‘Tomorrow Morning’ and I invited Patrick play lead Guitar on the session at the end of witch I paid him.

Joey Dee is no longer with us but from what I am told, he too got screwed after he parted company with the group.  I sometimes wonder what their children would think of them if they knew that their fathers stole the food from my children mouth to feed them. Do they care or think about his family? What do you think, what do I feel? Pity for both Patrick Patterson and Steve Scipio. 



Lloyd Coxone Record Producer and Sound System Man?


It’s 1976 and I have returned home to the UK after spending five month in Ghana, West Africa and I am feeling great!
Some weeks later I meet up with Lloyd Coxone and he plays me the backing track of a song he had recorded for me, and I loved it 
A few weeks later I would be going to the studio to record it and I was looking forward to that. When I arrived at the studio I was met by the engineer who informed me that Lloyd was running late and would be there shortly. He suggested that we run the track so that I could warm up my voice before we start to record. About half an hour later the bell rang and I went down to open the door thinking it would be Lloyd, but it was my friend Dennis Brown.  Lloyd had told him that we would be recording at this studio in Tooting, South London so he came along to hang out with us and I was glad to see him.
We ran the track some more times and decided to start recording my vocals. By the time Lloyd arrived we had my vocals recorded and I decided to do the backing vocals and invited Dennis to join me. After two or three takes we had nailed it so we mixed the track. My version of the ‘Easy’ was recorded and I went home with happy vibes.

Some days later I receive a call from Lloyd telling me that Chris Blackwell from Island Records loved it and wanted to release it. I had no problem with that, this would be the second time that Lloyd and I worked together. The first time was on a song called ‘Motion’. It sold a few copies but nothing to write home about and I never expected to see any royalties from it and that was ok. The agreement between Lloyd and me was 50:50 on any profit. He paid out for the production cost witch would be deducted from any royalty we received and the rest would be divided equally which I was happy with.

In February 1977, ‘Easy’ was released and takes off like a rocket up the charts to the number one position. Island Records contacted me setting up photo shoots and press interviews and I am making a few friends within the company. I was receiving regular updates on sales. It was doing over five thousand copies a day and was number one in the Reggae charts. It entered the top sixty of the national charts Top Of The Pops.

Not so long after ‘Easy’ was released Lloyd went off to Jamaica having pressed several thousand copies of the record on his own Tribes Man label.

Some weeks later Castor Brown came to see me and gave me seven hundred (£700) and he said that Lloyd had asked him to give it to me,

My single was selling over five thousand copies a day, not only number one in the reggae charts but now it was in the top sixty of the UK national chart, Based on that I should have been offered the opportunity of a Top Of The Pops appearance. About a week or two later I receive another call from Island Records to inform me that the press had broken down and they could not find another source to press it. No one was trying to secure Top Of The Pops gig for me. Soon we had lost the momentum ‘Easy’ went on to sell over seventy three thousand (73,000) as a single and it remained in the reggae charts for the most of 1977, reaching the number one spot three times in that year. It was also released on several compilation albums that have gone on to sell hundreds of thousands and I received an award for the Best Single 1977.

I could not help but ask myself, why did Island Records not find another source to press the single?


What I found out later is that the politics within Island Records led to what happened with my single. I was still unsigned and some people within the company started to question why I was getting all this attention. The management for some of the other acts on the label also started to ask why that attention was not been given to their acts. They killed my single because they did not want another company to cash in on what they saw as being their effort. They felt that I might sign with another record company who would then reap the rewards. Months later I receive a call from my friend inside the company informing me that they had made the first royalty payment to Lloyd Coxone over a week ago. He was shocked to learn I knew nothing about it.

Some weeks later Lloyd contacted me to inform me that Chris Blackwell was offering us fourteen thousand pound (£14000) to record an album in Jamaica.  I would have been happy with that because I would get the chance to work with Sly Dunbar, China Smith and Lloyd Parks, three of the musicians who recorded the backing track to ‘Easy’.  I told Lloyd I would think about it and let him know.  I already knew what my answer would be!

At no time at all did Lloyd sit down with me and say that “this is how much royalty I collected from Island Records”; “this is how much I got back from the sale of the singles I pressed on Tribes Man label”; “this is how much I spent on producing the track” or “this is how much we have made”. Instead he was asking me to come to Jamaica for maybe three months to record this album but failed to advise me how much of the fourteen thousand pound would be available to me to support my family when I am in Jamaica.

A few weeks later I received a call from a company called GTO. They told me they would be interested in signing me to the new label they would be launching called Gem Records, We got together and a deal was done.

On my second album for Gem Records ‘Children of Rastafari’ I invited Lloyd Coxone to produce it and I paid him. I think he is one of the best producers in the country and I believe we made a great team but at the end of the day he is just a low life thieve, all I got from ‘Easy’ was seven hundred pounds (£700). What he failed to understand is that if he had any integrity he could have made A hundred times more than what he stole.

Sir Coxone international or should that be Sir Coxone Thieveanational? You decide!!


Lawrence Myers



In 1979 I signed to Gem/RCA Records and recorded ‘The Where Is Your Love’ and then ‘Children Of Rastafari’ albums, Thousands of pounds to be paid to me for my publishing (I wrote 17 of the 20 songs that made up the 2 albums). Lawrence Myers C.E.O of Gem stopped David Simone and Edward Christi from paying me my royalty because he was using my royalty and the funds from RCA to prop up G.T.O .Films/music publishing, 

I have recently discovered that he has also sold the rights to my songs to a third party without my knowledge or consent this story is not over yet” 

January 2014.

Lots more to come. I don’t have photos of Lawrence, but this is where you can find him