The review of the book "Getting It Back: The Story of Cymande" explores the overlooked and underappreciated history of a British funk band, shedding light on their resurgence in popularity. The book "Getting It Back: The Story of Cymande" delves into the neglected and undervalued past of a UK funk band, shedding light on their recent rise in fame.

This film is an informative and uplifting account of the influential 1970s British funk group Cymande (which means “dove” in the calypso language). Despite their immense talent, they have not achieved the same level of success as Earth Wind & Fire. However, their music allowed them to overcome the discrimination and lack of diversity in Britain during the time of the Edward Heath administration. They released three albums and were the first British band to headline at New York’s Apollo Theatre during a successful tour in the US. Unfortunately, they were never given the opportunity to perform on television in their own country.

After disbanding and fading into obscurity, something miraculous happened to the band in the 80s and 90s. Their songs were used by groups such as the Fugees, who were surprised to learn they weren’t American. Cymande’s music played a crucial role in the evolution of hip-hop and they experienced a remarkable resurgence in the digital age, gaining new fans and popularity. These admirers were often young enough to be their grandchildren.

The film interviews devoted followers of Cymande such as Mark Ronson, Deb Grant, and Craig Charles, prompting us to consider the role America played in appreciating and fostering these talented black British musicians. It is possible that if Cymande had presented themselves as American, they may have been more readily accepted by British television producers and music promoters.

Was Cymande able to profit from their comeback? It’s uncertain. Making money from their accomplishments is a challenge for all artists during the digital age. Near the conclusion of the movie, there is a noteworthy TV segment from the late 1970s or early 1980s where a young and sincere theater director, Peter Hall, advocates for cultural diversity. While his intentions are commendable, people of color during that time may have viewed Hall as being firmly embedded in the very establishment that excluded them.