Problem: Background: The Incredible String Band (sometimes abbreviated as ISB) were a psychedelic folk band formed by Clive Palmer, Robin Williamson and Mike Heron in Scotland in 1966. The band built a considerable following, especially in the British counterculture, notably with their albums The 5000 Spirits or the Layers of the Onion, The Hangman's Beautiful Daughter, and Wee Tam and the Big Huge. They became pioneers in psychedelic folk and, through integrating a wide variety of traditional music forms and instruments, in the development of world music. Following Palmer's early departure, Williamson and Heron performed as a duo, later augmented by other musicians.
Context: After that the group lasted another four years, although there was a gradual decline in their status and commercial success after 1970. Joe Boyd, whose skillful handling of the band had contributed much to their international success, stopped managing them and returned to the US. The group left Elektra Records and signed with Island, for whom they recorded five albums. The first was a soundtrack to the "Be Glad..." film, and this was followed by the eclectic Liquid Acrobat as Regards the Air, regarded as their best album for some time. The band continued to tour and record. Rose Simpson left in 1971 and was replaced by Malcolm Le Maistre, formerly of the Stone Monkey troupe. Mike Heron took time out to record a well-received solo album, Smiling Men with Bad Reputations, which, in contrast to the ISB's self-contained productions, featured a host of session guests, among them Pete Townshend, Ronnie Lane, Keith Moon, John Cale and Richard Thompson. The following year, Licorice left, and was replaced by Gerard Dott, an Edinburgh jazz musician and friend of both Heron and Williamson who had contributed to Smiling Men. Williamson also recorded a solo album, Myrrh, which featured some of his most extraordinary vocal performances. The group's changing lineup, adding Stan Schnier (aka "Stan Lee") on bass, Jack Ingram on drums, and Graham Forbes on electric guitar reflected moves toward a more conventional amplified rock group. Their final albums for Island were received disappointingly, and the label dropped them in 1974. By then, disagreements between Williamson and Heron about musical policy had become irreconcilable, and they split up in October 1974.
Question: anything else that is interesting?
Answer: Williamson also recorded a solo album, Myrrh, which featured some of his most extraordinary vocal performances.

Background: Namdev, also transliterated as Namdeo and Namadeva, (traditionally, c. 1270 - c. 1350) was a poet-saint from Maharashtra, India who is significant to the Varkari sect of Hinduism. He is also venerated in Sikhism, as well as Hindu warrior-ascetic traditions such as the Dadupanthis and the Niranjani Sampraday that emerged in north India during the Islamic rule. The details of Namdev's life are unclear. He is the subject of many miracle-filled hagiographies composed centuries after he died.
Context: Namdev's padas are not mere poems, according to Callewaert and Lath. Like other Bhakti movement sants, Namdev composed bhajans, that is songs meant to be sung to music. A Bhajan literally means "a thing enjoyed or shared". Namdev's songs were composed to be melodious and carry a spiritual message. They built on one among the many ancient Indian traditions for making music and singing. Namdev's bhajans, note Callewaert and Lath, deployed particular species of Raag, used Bhanita (or Chhap, a stamp of the composer's name inside the poem, in his case Nama), applied a Tek (or dhruva, repeated refrain) and a meter than helps harmonise the wording with the musical instrument, all according to Sangita manuals refined from the 8th to 13th centuries. The musical genre of Namdev's literary works was a form of Prabandha - itself a very large and rich genre that includes dhrupad, thumri, tappa, geet, bhajan and other species. In some species of Indian music, it is the music that dominates while words and their meaning are secondary. In contrast, in Namdev's bhajan the spiritual message in the words has a central role, and the structure resonates with the singing and music. The songs and music that went with Namdev's works, were usually transmitted verbally across generations, in a guru-sisya-parampara (teacher-student tradition), within singing gharanas (family-like musical units). Callewaert and Lath state that, "each single song of Namdev is a musical and textual unit and this unit is the basis for textual considerations". The unit contained Antaras, which are the smallest independent unit within that can be shifted around, dropped or added, without affecting the harmony or meaning, when a bhajan is being sung with music. In Namdev's songs, the dominant pattern is Caturasra, or an avarta with the 4x4 square pattern of musical matras (beat).
Question: How do they relate to Namdev?
Answer:
Namdev composed bhajans,