Showing posts with label Isibaya Esikhulu. Show all posts
Showing posts with label Isibaya Esikhulu. Show all posts

Friday, 10 June 2016

Izintombi Zesi Manje Manje - Makoti Wakena (1980)

With many thanks to fellow collector Laurent Dalmasso, Electric Jive today shares another album of wonderful female vocal mbaqanga courtesy of Izintombi Zesi Manje Manje. Makoti Wakena, produced by Hamilton Nzimande and released on the Umjondolo label, features ten powerful songs originally released on 45rpm format in 1980. The album was issued at the same time as Unina Kavusi, also by the same group (under a different alias) and previously shared by us here. As with that album, Makoti Wakena features some of the finest mbaqanga rhythms of the era, no mean feat when you consider most of the other groups of the day had shifted focus more towards the burgeoning disco sound. Of course the archetypal organ and disco drums are present here, but they both sit beautifully alongside two jangly guitars, plucky bass, occasional bursts of male soul vocals and the trademark Isibaya Esikhulu saxophones. Most of the lead vocals are handled by the iconic Hilda Tloubatla alongside the other maidens of the group during this period: Jane Dlamini, Julia Mangqu, Lindiwe Mthembu and Nobesuthu Shawe. I must single out my favourite tracks - "Bantshepisa Lenyalo", "Bomma Ditaba", "Mpho" and "Menate Ya Lefatshe" - but in all honesty I don't believe any of the ten numbers are worth skipping over. Thanks again to Laurent for allowing us to share this one with you!

Enjoy!


IZINTOMBI ZESI MANJE MANJE
MAKOTI WAKENA
produced by Hamilton Nzimande
Umjondolo LJD 31
1980
Sotho Vocal

Tuesday, 4 August 2015

S'modern Girls - Unina Kavusi (1980)

We share another album of crisp and clean 1980s female mbaqanga today, this time from Izintombi Zesimanjemanje under their alternate pseudonym, S’modern Girls. 1980’s Unina Kavusi features 10 strong Zulu vocal numbers with powerful harmonies, sunny guitar, pounding bass and glorious organ.

Izintombi Zesimanjemanje (usually corrupted as ‘Izintombi Zesi Manje Manje’ on their record sleeves thanks to careless designers) established itself as a serious competitor in the local music scene early on and had been a relatively dominant force for just over five years when the original line-up, fronted by Sannah Mnguni, quit and went over to form Amagugu Esimanjemanje at EMI. Isibaya Esikhulu producer Hamilton Nzimande quickly reformed the group. His partner Jane Dlamini – the only Zesimanjemanje vocalist who stayed on at Isibaya – was soon joined by Lindiwe Mthembu (from Izintombi Zephepha), Nobesuthu Shawe (from the Mahotella Queens) and Ruth Mafuxwana. From 1972 to 1976 the quartet produced some brilliant high-quality vocal jive LPs (although naturally the 45s came first, then the albums), some of which were Nomali (1974), A Man and a Woman (1974), Isitha Sami Nguwe (1976), Bomakoti Bakajeno (1976) and Usithathaphi Isibindi (1976).

In 1977, the Zesimanjemanje maidens were joined by Hilda Tloubatla, who had recently left Gallo-Mavuthela after more than 12 years as the famous lead singer of the Mahotella Queens. It was at this same time that Nzimande began developing the famous Soul Brothers, then virtually unknown but soon to become Isibaya Esikhulu’s (and ultimately one of South Africa’s) biggest selling artists. As the era of girl group mbaqanga began to come to an end, Nzimande reinvigorated Zesimanjemanje’s backup to resemble that of the Soul Brothers, with a horn section, synth, organ, disco beat and just one guitar. The changes were a step into the future but the material remained very strong, notable albums including Ho Buoa Morena (1977), Ujabulisa Abantu (1978), Ha Le Dikela (1979), Umuntu Othulile (1979), Makoti Wakena (1980) and today’s share, Unina Kavusi (1980). In a bid to maintain the group’s popularity, Nzimande arranged for the ladies to record some of their own compositions using the same musical arrangements from the most popular Soul Brothers singles.

Most of the vocals on Unina Kavusi are split pretty evenly between the Zesimanjemanje maidens and a male soul chorus (not actually the Soul Brothers on this LP, although they do sing on Ujabulisa Abantu). The trademark mbaqanga rhythms are definitely imbued with that Soul Brothers magic and the result is happy, sunny and delightful. Every number is brilliant but particular standouts include “Ukuhlakanipha Akukho”, “Utshwala”, “Thathakahle” and “Mawumthanda”.

The female vocalists on this LP are: Jane Dlamini, Julia Mangqu, Lindiwe Mthembu, Nobesuthu Shawe and Hilda Tloubatla.

Enjoy!


S’MODERN GIRLS
UNINA KAVUSI
produced by Hamilton Nzimande
Umjondolo LJD 30
1980
Zulu Vocal

Monday, 10 February 2014

Sax Jive Special

It dawned on me a few days ago… why not devote an Electric Jive post to the groovy instrumental sounds that made black South African partygoers shake their hips on the dance floor in the 1960s? And so, here we are. Sax Jive Special throws you 20 classic mbaqanga instrumentals – all of which have to be played at full volume and must be accompanied by the listener jiving around the living room until they drop.

Yes indeed, sax jive was the dance music of choice in South Africa at precisely the same time that Beatlemania was sweeping the rest of the world. Nonetheless, this compilation begins with a rather subdued number performed by Abafana Bezi Mpalampala, led here by alto saxophonist Thomas Motshwane. “4 By 4” (possibly a nod towards West Nkosi’s earlier hit “2 By 2”) focuses mostly on gentle rhythms and musical harmony. Amabhungu Emvelo’s “Woza Nazo Vala” changes the cordial mood by a long way and takes us well and truly into a mad frenzy of guitar-sax-drum interplay. Hazekiel Mazibuko certainly knows his way around a saxophone. It’s hard not to feel stimulated by this track!

Abafana Bezi Mpalampala returns for one more song that stirs in a spoonful of soul magic. “Blackstick Soul” proves its hipness with a trendy, modern keyboard solo when the saxophonist puts down his horn in the middle of the tune. It’s certainly a groovy song. Before one has the chance to get carried away with all this soul stuff, in step the Makgona Tsohle Band to tell us how true, grassroots studio jive is performed. Vivian Ngubane’s genius rhythm guitar introduces “Mafeking Platform 12” calmly, and Marks Mankwane – without missing a trick – gets right down to business by scratching out that trademark fast-paced lead guitar sound. We step a couple of years ahead to hear an emphatic, driving rhythm created by the peculiarly named artist Bhengu & Bhengu. What we do know is that the brilliant Sipho ‘Sammyboy’ Bhengu is on alto sax here, with Nunu Luphoko on rhythm guitar. Then, we step another couple of years backwards to hear a classic sax jive from the master, West Nkosi, backed as usual by the brilliant Makgona Tsohle Band. Although West is on top form here, the standout musician has to be Joseph Makwela who just plucks that electric bass like there’s no tomorrow.

West Nkosi was a sax jive star – but then again, so was Selby ‘Bra Sello’ Mmutung. “12-0-12” was a huge hit for Bra Sello in 1967, so much so that Izintombi Zesi Manje Manje did a vocal jive cover of it entitled “Ingwe Idla Ngamabala”. Bra Sello created a long stream of funky, soul-infused sax jive for a number of years before retreating to the more comfortable and familiar traditional formula in the mid-1970s. It was nothing spectacular, but you just find yourself getting lost in the frenetic melody of tunes like “Mancintshana”. There were other saxophone stars too, such as Teaspoon Ndelu. His “Miss Durban” is a hell of a tune. Noise Khanyile, that legendary studio violinist, bulks up the instrumental team that jives undeterred as Teaspoon hits the highest registers of his alto sax.

Sax jive was perhaps at its most fertile during the late 1960s – and in recognition of this, we again recoil and return to the earlier time period after a number of 1970s instrumentals. Amabhungu Emvelo steps back into the limelight to play another hit of the day, “Impalampala Outside”. But it’s down to Abafana Bentuthuko to close the show – and a fine job of it they certainly do, playing their mid-tempo “Tycoons No. 2”.

Many thanks to Chris for allowing me the use of “Matamato Jive Matamato” – and also thanks to regular EJ reader Manzo Khulu for sharing with us his out-of-print copy of Bra Sello and Abafana Bentuthuko’s greatest hits.

Now download, play at full blast and do your thing, man!

SAX JIVE SPECIAL
COMPILED BY NICK LOTAY

01) 4 BY 4 – ABAFANA BEZI MPALAMPALA (1969)
02) VIKA WETHU – ABAFANA BE MVUNGE (1968)
03) WOZA NAZO VALA – AMABHUNGU EMVELO (1967)
04) VALA NZIMANDE – ABAFANA BENTUTHUKO (1967)
05) BLACKSTICK SOUL – ABAFANA BEZI MPALAMPALA (1971)
06) MAFEKING PLATFORM 12 – LUCKY MONAMA AND HIS PARTNERS (1967)
07) PRETORIA TYCOONS – FESTUS THE GREAT (1967)
08) MA UJIKA – BHENGU & BHENGU (1972)
09) MATAMATO JIVE MATAMATO – JOSEPH MAKWELA AND HIS COMRADES (1967)
10) 12-0-12 – BRA SELLO (1967)
11) KHANYISA MARKS – MARKS MANKWANE AND HIS SHALUZA BOYS (1973)
12) RED STOEP – ROGER AND HIS BIG SOUNDS (1972)
13) VIA FARADAY – FASTOS THE GREAT (1977)
14) MISS DURBAN – TEASPOON NDELU AND HIS “T” BOYS (1973)
15) JIVE MABONE JIVE – SHADRACK PILISO (c.1973)
16) MOPIE SPECIAL – UMKHIZE OMCANE (1967)
17) MANCINTSHANA – MATHWALIMBUZI (1976)
18) MAGIRIGIRI – WEST NKOSI & HIS ALTO SAX (1969)
19) IMPALAMPALA OUTSIDE – AMABHUNGU EMVELO (1967)
20) TYCOONS NO. 2 – ABAFANA BENTUTHUKO (1967)

RS / MF

Monday, 7 October 2013

Izintombi Zesi Manje Manje - Siya Emshadweni (1973)

Today we present a classic jive album by the one of mbaqanga's most well-known and loved girl groups, Izintombi Zesi Manje Manje. This LP is Siya Emshadweni ("We're going to a wedding"), released on the CBS label in 1973 and produced by Hamilton Nzimande.

Izintombi Zesi Manje Manje was formed in late 1967 as a direct response to the success of Rupert Bopape's Mahotella Queens over at Gallo. The founding members were Sannah Mnguni, Francina "Thopi" Mnguni, Nomvula "Nunu" Maseko and Thoko Khumalo. Almost immediately, the line-up found popularity with classic hit singles like "Uyawuz' Umoya Makoti", "Pendula Magwala" and "Is'dudla Sik' Joseph", the latter being their first really big hit. Hamilton Nzimande was the only producer who managed to build up a roster of musicians that seriously challenged Bopape's Mavuthela. Nzimande's own stable within the Gramophone Record Company was called Isibaya Esikhulu, the "big kraal".

Sannah, the singer whose earthy and soft contralto voice provided Izintombi Zesi Manje Manje with a unique and distinct identity very quickly, left the group after only a year. She moved over to Troubadour Records, which was on the cusp of being swallowed into Teal-Trutone. Sannah joined the famous and popular mbaqanga female group The Sweet Sixteens, which was led by the beautiful and serene harmony of Irene Mawela. Sannah was not the only one to join Troubadour. Bhekitshe Shabalala, the man who was to Izintombi Zesi Manje Manje what Mahlathini was to the Mahotella Queens, also followed. Irene, Sannah and Bhekitshe harmonised together until around 1970, when Sannah rejoined her old bandmates in Izintombi Zesi Manje Manje, bringing with her a junior Sweet Sixteen by the name of Jane Dlamini.

Some more successful recordings followed until almost of the Izintombi members quit in 1972. Sannah, Thopi and Thoko decided to move to EMI where they formed a very popular new group called Amagugu. With only Jane Dlamini left in Izintombi, Nzimande recruited and poached some new members. With an expanded new line-up that included Nobesuthu Shawe (who had served as a member of the group in 1967 before moving to the Mahotella Queens), Ruth Mafuxwana and Lindiwe Mthembu, the group continued to remain fairly successful until the general decline in the popularity of mbaqanga groups during the late 1970s and early 1980s.

Siya Emshadweni features some of the fairly typical material that the group recorded during the early 1970s. The title track is by far one of my favourite tunes on the album. From the elasticated rhythm guitar line to the harmonious bass rhythm... and of course the voices of the girls and groaner Mthunzi Malinga... this one is a gem. "Udumbe Dumbe" and "Sicela Indlela" are two other great ones - the ladies clearly lose themselves in the joyous melodies here. "Ziyathuthuka Izintombi" is another nice song, with its stomping and solid rhythm work. Do you have a favourite tune? Make sure to let us know! "Siya Eswazini" is also noteworthy because, although the lyrics are different, the instrumental players here have stolen the melody of a Mahlathini song titled "Shwele Baba", released the year before. The melody is exactly the same, note-for-note! It was something often done during this period of South African music. Who knows... we may approach this subject in-depth very soon... until then, I hope you like this album of downright funky, layered vocal jive.

Enjoy!


IZINTOMBI ZESI MANJE MANJE
SIYA EMSHADWENI
produced by Hamilton Nzimande
CBS LAB 4042
1973
Zulu Vocal

RS / MF

Monday, 24 September 2012

Noma Ungayaphi Bakhala Ngathi - Usizwe Namatshitshi (1971)

Today’s offering is from the mbaqanga-traditional group Usizwe Namatshitshi, one of the popular bands of the day and one of the groups at the forefront of producer Hamilton “Vala” Nzimande’s prolific production house Isibaya Esikhulu Music. Noma Ungayaphi Bakhala Ngathi, released on the CBS label, was released in 1971.

The South African black music market of the mid-1960s had been dominated by the infectious sounds of mbaqanga and mgqashiyo, with the most successful artists utilising the now-familiar elements of a girl group, a male groaner and a backing team. Gallo’s Mavuthela division, under producer Rupert Bopape, had mostly perfected this formula – but Hamilton Nzimande was the only rival producer to build up a strong roster of musicians that seriously challenged the crown. Mthunzi Malinga, Joseph Mthimkhulu and Saul Shabalala rivalled Mavuthela’s Simon “Mahlathini” Nkabinde, Boy Nze Magatole and Robert “Mbazo” Mkhize; Izintombi Zesi Manje Manje opponents were the Mahotella Queens; and Abafana Bentuthuko jived as hard as the Makgona Tsohle Band.

Another of Nzimande’s popular acts was Usizwe Namatshitshi, a combination of singer-groaner Sizwe Mazibuko and the five-strong female troupe Amatshitshi (The princesses), comprising Busi Dlamini, Nomusa Mathebula, Dudu Hlophe and others. The sound of Usizwe Namatshitshi was a pleasant and strong meld of traditional Zulu harmonies and rhythms with the melodic patterns of mbaqanga. Their stage outfits were strikingly custom, with beads, brassieres and battle shields, and their songs were of the appropriate material: “Mnikeleni Induku Yakhe” (“give them our fighting sticks”) is but one example. Much of their material was written by producer Nzimande (who is also credited as “musical director” on this LP) but several group members also contributed lyrics. The composer credits of Noma Ungayaphi Bakhala Ngathi rather interestingly reveal that both Meshack Mkhwanazi and Albert Motha had begun their musical careers in the backing band of Usizwe Namatshitshi – both Mkhwanazi (a rhythm guitarist, bassist and drummer) and Motha (a guitarist and vocalist) went on to become the founder members of the last successful band of mbaqanga’s heyday, Amaswazi Emvelo, in 1978. By that point, mbaqanga was faltering in popularity - but it is a testament to both members that Amaswazi was a group that was consistently popular and highly productive until the late 1980s.

The traditional rhythms on this LP are catchy indeed, and although our copy of the LP isn’t in the best of conditions, it’s something I felt we should share with you. Enjoy!

NOMA UNGAYAPHI BAKHALA NGATHI (Usizwe Namatshitshi)
CBS LAB 4022
1971

1. NOMA UNGAYAPHI BAKHALA NGATHI
2. AMAQEMBU AYAGIYA
3. EMAKHUZENI
4. SESIYABALEKA
5. UBABA UFIKILE
6. EMATUBATUBA
7. SIZONGENA KANJANI ENKUMBA
8. UYANGIZUNGEZA LOMBEMU
9. MADODA SESIKHATHELE
10. MNIKELENI INDUKU YAKHE
11. SIYATSHINTSHA KULONYAKA

RS / MF

Saturday, 27 August 2011

Izintombi Zesi Manje Manje - Umuntu Othulile (1979)



















Izintombi Zesi Manje Manje is a group that needs little introduction to regular EJ visitors. It is a name that conjures up the classic sights and sounds of mbaqanga's heyday - the quick-tempo jive music, the line-up of girls swaying to the beat, the groaner cutting through the atmosphere with his gruff voice.

For this post, however, we will be taking a brief look at one of the "forgotten" parts of Izintombi Zesi Manje Manje's career... the fusion of soul into their mbaqanga stylings in the late 1970s.

Hamilton Nzimande, talent scout at EMI, was promoted to the highest position - producer - after his boss Rupert Bopape was enticed by Gallo to lead their new African music operation in 1964. Nzimande took over as the man behind the Dark City Sisters and the Flying Jazz Queens until 1967. Gramophone Record Company (GRC), a subsidiary of CBS, started up a new black music production company for which Nzimande became the new producer. The company was named Isibaya Esikhulu and was intent on challenging the crown held by Gallo's Mavuthela Music. The monarchs of Gallo-Mavuthela were the Mahotella Queens, the country's most popular female group at the time. In a shrewd move, Nzimande lured several of the Queens away from Gallo-Mavuthela and into Isibaya Esikhulu with the offer of more money. The early line-up included Nunu Maseko, Windy Sibeko, Thopi Mnguni, and the lead vocals of Sannah Mnguni, but the more memorable line-up stabilised in 1971: Jane Dlamini, Lindiwe Mthembu, Nobesuthu Shawe, Hilda Tloubatla and Ruth Mafuxwane. Izintombi Zesi Manje Manje were neck-and-neck with the Mahotella Queens and managed to regularly topple them for a while in the early 1970s.

Electric Jive has already shared a previous Izintombi Zesi Manje Manje LP that gives a wonderful summary of their late 1960s formative material. Umuntu Othulile likewise offers a wonderful summary, this time of the late 1970s, at a time when the legendary Soul Brothers (perhaps the "male equivalent" of Izintombi Zesi Manje Manje) were ruling supreme, and all-female line-ups were beginning to move out of the limelight. While the 1960s material will always be classic, there are some real gems in this record.

The typical keyboard, drums, bass and guitar sound is prevalent throughout the album, and while it is not one of Izintombi's "classic" albums, it is totally worth a listen to. One highlight is "Lensizwa", which appears to be a reworked version of the Soul Brothers hit "Mantombazane". Other tunes to look out for include the ballad-like "Ungabinomona" and "Nayi Lensizwa", and the expressive "Siyoyicela Ivuthiwe".

Only a handful of Izintombi's recordings are available to purchase, and those that are available are hardly a sampler for this great band's best material - even their "Best of" collection omits the classic, high-selling 1970s material, focusing only on the modern early 1980s sounds - but we hope this share today contributes to lifting the lid further on a wonderful musical career.

Enjoy!


















UMUNTU OTHULILE (Izintombi Zesi Manje Manje)
Masterpiece LMS 541
1979

1. UMUNTU OTHULILE
2. LENSIZWA
3. NHLEBI NDINI
4. NAYI LENSIZWA
5. AMATHUBA
6. WAKHAHLELWA YIHASHI
7. SIYOYICELA IVUTHIWE
8. NGINAKHILE
9. INDODA ELIXOKI
10. UNGABINOMONA

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