Happy 400 from Electric Jive!

It might surprise you to know that this is the 400th post on Electric Jive. In fact, we at EJ HQ realised our 400th was coming only in the last week or so. It's really a bit of a milestone for us and one that we felt shouldn't go unnoticed. But we've decided it's better to give than to receive - so what better way to mark 400 posts than offering our readers another compilation of wonderful '60s and '70s South African vocal jive 45s?!

The Dark City Sisters, that wonderful group of wonderful dames, open this celebration with their 1968 hit "Nice Time". Though the Mahotella Queens had taken the crown upon their 1964 formation, the Sisters were unmoved and continued to fly their mighty flag up high under the stewardship of Joyce Mogatusi and her fellow songbirds Grace Msika, Esther Khoza and Audrey Zwane. The Sisters continued to perform and record for a further 40 years - by the end, only on a very small, local circuit - until the death of lead vocalist Joyce Mogatusi in July 2012. Grace Msika, now in her mid-70s, has retired from singing but still remembers and hails the magical voice of her late best friend whose talent put the Dark City Sisters on the map.

"Dikuku" was a huge Sotho vocal hit in 1968. Composed by singer Virginia Teffo and performed by John Moriri and the Mthunzini Girls (but released under their other recording name Izingane Zo Mgqashiyo), the song simply celebrates the tasty cakes prepared to be eaten at traditional wedding ceremonies. As the John and the girls sing, the cakes are delicious but marriage is a tough nut to crack. Apart from Virginia, the original Mthunzini Girls - Julia Yende, Windy Sibeko and Teddy Nkutha - had actually resigned not long before this recording was made and were now recording for Isibaya Music as Izintombi Zentuthuko. Virginia was kept at Mavuthela by boss Rupert Bopape, who eventually became father to her children. Although Bopape officially retired in 1979, he continued to write songs and travel to the Gallo studios until the early 1980s. Virginia continued popping in and out of the Mahotella Queens until Bopape entered his old age and settled in Limpopo.

Though "Intlonipho" is credited to the Mthunzini Girls, it is really performed by the Mahotella Queens. Juliet Mazamisa, the composer of the tune, joined the Mahotella Queens in 1965 as their alto vocalist. She had arrived at the Gallo studios with fire in her belly. Her family members had turned on her, furious and jealous that she wanted to express herself in some artistic way. In the Mahotella Queens, she found love and support from her fellow singers. In 1969, Juliet was among the handful of Queens who quit Mavuthela to join Isibaya, recording as Amakhosazana (princesses). They moved again after less than a year, this time over to Teal Records - "Mapule" was recorded there in 1971 - and after a further few years unsigned, Amakhosazana split. Juliet then joined John Moriri and the Manzini Girls over at Satbel to make a dozen wonderful recordings; "Ciyongi Khumbula" is another Mazamisa composition, featuring both John and Manzini Girl Joana Thango on lead vocal duties. But it was only right that Juliet, a wonderful raconteur and a truly natural actress, would try her hand at television drama once the SABC had developed its African TV business. Until her retirement in 2000, Juliet lit up the screen with her sizzling personality in a bevy of serious TV dramas and comedies.

The star that had once shone so brightly during the mid-1950s had more or less faded after the rapid changes in the music scene and a botched goitre operation, and by 1965, Mabel Mafuya found herself at something of a dead-end. So she got in touch with top producer Rupert Bopape, who agreed to sign the big name to Mavuthela. "Intombi Yami" is one of the few sides she recorded with the Mahotella Queens, then on the cusp of becoming the country's most popular group, but not even they could help to bring Mabel to the same heights of fame she enjoyed a decade previously. It wasn't until the advent of the SABC's black television production that Mabel, like Juliet Mazamisa, was able to successfully breakthrough into another market.

1970's "Sebokeng Sa Dipina" represents the time when the Mahotella Queens name was at its highest peak - the only problem was that the original line-up had just quit to form Amakhosazana over at Isibaya, so Rupert Bopape found himself having to rebuild the group on the orders of Gallo executives, who didn't want their most popular African group to disappear overnight. Until Hilda Tloubatla came back to the group after her brief maternity leave, Phyllis Zwane took over the reigns as lead singer. But Phyllis' vocal range was not nearly as powerful or distinctive as Hilda's, so Bopape moved her around Mavuthela until she was able to find her niche. By the time Phyllis recorded "Segametse" with Izintombi Zomoya in 1975, she was still trying to develop a lead singing voice but was ultimately drowned out by those who possessed more memorable voices, such as Hilda, Julia Yende, Sannah Mnguni, Joyce Mogatusi, Emily Zwane and Irene Mawela.

Irene provides the feminine touch to the testosterone-fuelled "Shona Phansi Ndoda", an ode to the hardworking men digging for gold and diamonds in South Africa's mines. The song is credited to Mahabula Joza but it is really Irene along with members of top male mbaqanga group Abafana Baseqhudeni. Their lead singer, Robert 'Mbazo' Mkhize, features on two other hits in this compilation: "Ngiyayithanda Lentombi", a brilliant solo effort from 1973, and as the male lead singer in the fantastic "Usapho" by Dulcie Luthuli and her group Abalilizeli. Mbazo, Boy Nze, Tshabalala, Mazambane, Mabhawodi and countless others were actually following in the footsteps of the original king of the groaners - the main man himself, Simon 'Mahlathini' Nkabinde. The lion roars with all his might in "Basibon' Izithutha" (performed with the Mahotella Queens) and "Sabela Zwide" (a duo with the aforementioned Boy Nze).

We at Electric Jive sincerely hope you've enjoyed our posts over the past six years - how astounding to realise we've been going that long already! - and while 400 certainly doesn't have the robustness of a figure such as... for instance, 500... it's still humbling to reach such a target. I say with pride and not arrogance - truly - that Electric Jive holds an important position within the online movement towards the preservation and celebration of South African music from the 1950s through the 1980s. We'll carry on documenting this great country's rich musical heritage and sharing the out-of-print sounds of the past for as long as we possibly can.

Here's to the next 400! :)

ELECTRIC JIVE 400
COMPILED BY NICK LOTAY

01) DARK CITY SISTERS - NICE TIME (1968)
02) IZINGANE ZO MGQASHIYO - DIKUKU (1968)
03) MABEL MAFUYA AND THE QUEENS - INTOMBI YAMI (1965)
04) MTHUNZINI GIRLS - INTLONIPHO (1966)
05) SIMANJE MANJE - AWUSIBONI (1967)
06) IZINTOMBI ZESI MANJE MANJE - THEMBA MASOMBUKA (1966)
07) MAHLATHINI & IZINTOMBI ZO MGQASHIYO - BASIBON' IZITHUTHA (1969)
08) MAHLATHINI AND RHYTHM - SABELA ZWIDE (1972)
09) UMFANA WEMBAZO - NGIYAYITHANDA LENTOMBI (1973)
10) MAHOTELLA QUEENS - SEBOKENG SA DIPINA (1970)
11) DULCIE LUTHULI NABALILIZELI - USAPHO (1971)
12) MAKHOSAZANA - MAPULE (1971)
13) IZINTOMBI ZOMOYA - SEGAMETSE (1975)
14) JULIET, JOHN MORIRI & MANZINI GIRLS - CIYONGI KHUMBULA (1975)
15) JOHN MORIRI AND MANZINI GIRLS - ISITHUKUTHUKU SENJA SIPHELELA EBOYENI (1977)
16) MAHABULA JOZA - SHONA PHANSI NDODA (1976)
17) MSHIKISHI NAMAGUGU - NANGOMKHWENYANE (1977)
18) BOY NZE - SICELA INDLELA ESIBAYENI (1976)
19) THE QUEENS & NDLONDLO BASHISE BAND - TSETLANA (1976)
20) THE MAHLATHINI GIRLS - NGIZOSHONA PHI (1977)

Download link: MF

Mabel Mafuya on 78 rpm (1956 - 1960)

“Don’t let this picture fool you. It is the somber, dolorous and docile portrait of a lively bubbling brook of hep cat, Mabel Mafuya. The jazzingest twenty-four inch waist I’ve seen in a recording studio. And what can you get in a wiggly waggly twenty-four inch waist that heps and jives and dashes behind partition to rehearse the next verse in the middle of the recording session? Lots. You get her Troubadour AFC 353 that paints the grim grime of a miner’s life in jumping tones.” (Drum, February 1956, in Coplan)

David Coplan uses this fragment of Todd Matshikiza’s 1956 review in Drum magazine to illustrate Matshikiza’s style of “word jazz”. But the text also paints a wonderful portrait of a young Mabel Mafuya, who in the mid to late 1950s was one of South Africa’s top-selling jive vocalists. At Troubadour, Mafuya was only second to Dorothy Masuka, and in the mid to late 1950s Troubadour dominated the African market (with at times up to 75% of sales).

Mafuya in 1993 by Mike Mzileni

Remarkably very little material by this legendary artist has been available. To my knowledge, only one track — Nomathemba — has been reissued on CD. Moreover after searching the web, it appears that only two other tracks come up: one in the SAMAP archive, and the other, a late-career track at Soul Safari. In many ways the collection below of 26 songs spanning four years from 1956 to 1960, captures Mafuya at the peak of her singing career and is a unique and valuable window into a dynamic social period.

Mafuya’s destiny as a star seemed to be set in a fortuitous meeting, that Z.B. Molefe describes in A Common Hunger to Sing, when as a young teenager in Orlando she passed by her idol Dolly Rathebe. At that moment Rathebe happened to toss aside a half eaten apple. Mafuya picked it up and took a bite. In her interview with Molefe she recalls: “My mind and heart told me that if I bit that apple where the great Dolly had bitten, I would grow up and sing like her one day.”

That destiny was soon confirmed. While Mafuya was still a student at Orlando High School around late 1955 or early 1956 Cuthbert Matumba, producer and talent scout for Troubadour Records invited her to make some recordings at their studios. There she would soon rub shoulders with another of her idols, Dorothy Masuka, who would also became a mentor to her in those early days.

At Troubadour, Mafuya became one of the regular artists brought in to record not only her own compositions but also as a group and/or backing vocalist with a number of other artists including Dorothy Masuka, Dixie Kwankwa, Doris and Ruth Molifi, and Mary Thobei. The company had a roster of artists who rotated and recorded under a number of different pseudonyms and the groups Mafuya performed with included the Girl Friends, the Satchmo Serenaders, Starlight Serenaders, Starlight Boogies, the Starlight Singers, etc.

Mafuya appeared as a backing vocalist on a number of songs by Dorothy Masuka, notably one of my all-time favorite tunes, Five Bells, recorded September 3rd, 1956. But her career really took off with the hits Nomathemba and Hula Hoop recorded with her group the Green Lanterns that same year. Rob Allingham describes Nomathemba as her masterpiece in that the “song’s narrative of broken ties […] encapsulated the dislocating experience of rural-to-urban migrancy for many township residents.” (CD liner notes, History of Township Music)

Interestingly, Nomathemba has been at the center of a recent legal battle over copyright between Sting Music and Gallo Records. A song called Nomathemba was used in the stage production Umoja. Gallo claimed that it was originally released by Ladysmith Black Mambazo on their debut LP in 1973. The plaintiff claimed that the song was traditional, free of copyright and pointed to a number of earlier examples including Mafuya’s 1956 version. That version was written by Zachariah Moloi, one of the Green Lanterns, but is not clear to me whether the song is the same as that composed by Joseph Shabalala. Read more about the court case in the Sowetan.

The social references in Mafuya’s Nomathemba were typical of a number of her songs from this period. In fact, where other record companies shied away from political or social content, Troubadour openly embraced it. Matumba often encouraged critical or topical commentary in the recordings during this period, and despite visits by the Police "Special Branch," remarkably the owners of Troubadour did not temper the activity.

Troubadour was initially founded in 1951 by three and then later two Jewish businessmen, Morris Fagan and Israel Katz. Their approach was to focus on material that appealed to working class urban blacks, a market that was going through quite a renaissance in the 1950s. Still, the political environment in South Africa at this time was particularly turbulent. Sophiatown, one of the key centers of cultural production for a multi-racial community, had just been dismantled in February 1955 by the apartheid government, making way for a new white area soon to be called Triopf. The Treason Trial had begun after 156 people including Nelson Mandela were arrested in December of 1956. Nevertheless, music that carried a political message was able to get through to the public, either by record sales or less frequently by way of the rediffusion service, a cable based radio system available to blacks in some townships. This of course was the case until the Sharpeville massacre of March 1960, which resulted in a severe increase in censorship and self-censorship of political content.

The compilation of Mafuya tunes below opens with a 1956 track Regina, a homage dedicated to Regina Brooks, a white woman who had been arrested under the immorality act for having a child with a black policeman. In 1955 Brooks became controversial after she asked to be re-classified as coloured (or mixed-race) in order that she could live in Orlando, Soweto (some sources have it as Dube) with her husband, Sergeant Richard Kumalo, and child. Drum photographer, Bob Gasani captures Brooks and her child, Thandi, in this 1955 image sourced from the Bailey Archives. Read more about the story at IOL.

Regina Brooks and Thandi in 1955 by Bob Gasani (Bailey Seipel Gallery)

Mafuya’s homage to individual heroes was also not unique in the case of Regina Brooks. After the suicide of Ezekiel ‘King Kong’ Dlamini on April 3rd, 1957, Mafuya and her Troubadour colleague Mary Thobei immortalised the boxing legend in their song King Kong Oshwile Ma. Unfortunately friends and family of the boxer interpreted the song as a mockery and subsequently both Thobei and Mafuya were badly beaten by his supporters one day at the Jeppe Railway Station — an assault severe enough to land Mafuya in Johannesburg General Hospital. (Molefe, Coplan) Before his suicide, Dlamini had been sentenced to prison for murdering his girlfriend and later became the subject of the famed musical King Kong in 1959.

Thobei in 1993 by Mike Mzileni

At Troubadour, topical issues of the day were reported upon, sang about, recorded and out in the public often within 24 hours of an event. The company had a pressing plant in the same building as their recording studio and this along with some key marketing skills by Matumba (for example he used a mobile-unit to test new recordings at railway stations and other public venues), made turnover rapid and the company unrivalled by its competitors. In many ways Troubadour operated like a news service or as Mary Thobei refers to it: “We had our own ‘Special Branch,’ a sort of bush telegraph, and as a result we knew in advance what would happen in our communities, be it social or political.” (Molefe) This is also most apparent at the beginning of some records, which open with the announcement: “News in Record…” or “This is the Troubadour Daily News…”

Azikhwelwa (We will not ride), a kwela tune by the Alexandra Casbahs, is attributed to Mafuya and Thobei and operates as a form of news item alerting people to the bus boycott of 1957 in Alexandra. Thobei opens the tune saying: “Yes, ladies and gentlemen, it was on Monday morning, the 7th of January, 1957 when everybody was shouting Azikhwelwa…” The bus boycott had been implemented by residents of Alexandra against the Public Utility Transport Corporation (more commonly known as PUTCO) over a rate hike of 4 to 5 pence. This spontaneous action lead to the formation of the Alexandra People’s Transport Action Committee (APTAC). Of course, during apartheid in South Africa, blacks were segregated into townships that were some distance from city centers and places of work and thus bus and train were, for many, primary modes of transport. Rate hikes would deeply affect every household’s bottom-line. With the boycott, residents chose other forms of transport to get to and from work, but most walked the 30km roundtrip journey. At its peak, 70,000 residents refused to ride the local buses and the action also spread to other townships including Newclaire and Mamelodi. The boycott lasted for at least three months and was only finally resolved on April 1st, 1957, when the 4 pence rate was restored. The protest drew the daily attention of the South African press and is generally recognized as one of the few successful political campaigns of the apartheid era. Read more about the campaign at Dan Mokoyane’s Blog here and more here.

 Sourced from SAHO (Drum Photographer, Bailey Archives)

Likewise the track Asikhathali (We never get tired) by Ruth Molifi and the Starlight Singers opens with this annoucement: “This is the Troubadour Daily News! Many People are going to meetings everyday in Sophiatown and Alexandra. Some shout Azikhwelwa and some shout Ziyakhwelwa. It would be too cold to walk in winter. This is the song the people sing when they go to meetings… Asikhathali…” As Rob Allingham reveals, the tune features sisters Ruth and Doris Molifi, Mabel Mafuya and Mary Thobei on vocals with Cuthbert Matumba as ‘groaner.’ Thobei has an additional monologue where she states: “We don’t care if we are arrested. But we want our freedom. So pray people of Africa. We want our freedom.” Marks Mvimbe while coughing in the tune also moans “We are suffering going to meetings.” (Allingham)

Asikhathali is a classic of the struggle and this 1957 track probably marks the first time that it was recorded. Do a search for the term on YouTube and you will find many later renditions of the song, some professional, some really informal. Notable versions can be viewed here and here.

Other political classics by Mafuya include the tracks Cato Manor and Beer Halls, probably both recorded late in 1959 or very early in 1960. Cato Manor opens with a whistle that emulates the opening pitch of a radio broadcast and Mafuya announces “Zulu… Zulu… This is Durban Calling… This is Durban Calling…” (Similar to the opening broadcast of the day on radio.) “Women are fighting in Durban. They don’t want their men to drink in Beer Halls…” On the surface the song appears as a feminist critique, but rather it is a call to action against the government.

Cato Manor was the official name of an area that become home to a vibrant, informal settlement just outside Durban. To the local resident Cato Manor was known as Mkhumbane. Read more about the place and Todd Matshikiza’s 1960 musical of the same name here at Electric Jive.

The Durban City Council had long established a revenue system of selling alcohol to the black population exclusively through a series of beerhalls. The acquiring of alcohol from sources other than these official beerhalls was declared illegal for black South Africans and the residents of Cato Manor resented such control over what had been regarded as a tradition. Illegal brewing developed as a result, and in response the South African authorities regularly raided what were considered to be illicit businesses and made numerous arrests. Protests at such police action resulted and often led to violent clashes.

A nervous Durban City Council issued a proclamation in June 1958 to relocate inhabitants from Cato Manor to the more distant regions of Umlazi, Chatsworth and the newly developed township of Kwa Mashu. In 1959 the City Council declared Cato Manor a white zone under the Group Areas Act and in June began the process of forcibly moving residents.

At this time a response to the increased liquor raids in Cato Manor put into play a series of actions that soon spiraled into significant violence. It began on July 17, 1959 when a group of women gathered at the Cato Manor beerhall, threatening the men drinking there with sticks. This same group of women then proceeded to attack the central beerhall in Durban and a boycott of the beerhalls began. On July 18th, the following day, 3000 women gathered around the Cato Manor beerhall, and while clashing with police, set it on fire. It is significant to point out that these grievances were not over moral issues around the use of liquor, but rather the control of its production and sale. After more raids on January 23rd (some have it in early February) of 1960, an angry mob killed nine policemen at the Cato Manor Police Station.

In the song Beer Halls Mafuya announces in English: “They say do not buy potatoes! Do not eat fish and chips!” probably referring to the boycott of food items that were sold at beerhalls.

At Troubadour other political themes were tackled, most famously Dorothy Masuka’s song Dr. Malan with a line that translates as “Dr. Malan has difficult laws.” Allingham in the liner notes to the Masuka CD suggests that this marked the first occasion that an actual political leader was cited in a critical song. The disc sold well and was even played over the rediffusion service, but eventually the Special Branch came to the company requesting the master-tape and remaining copies. Fagan, the co-owner of the company had misleadingly claimed that he thought the song was a praise song for Malan. Records were confiscated but Fagan was able to hold on to the master recording. Ultimately Fagan and Katz did little with Police intimidation and remarkably continued to give Matumba significant latitude over content with Troubadour's ‘African’ catalogue.

Although Troubadour was bringing in significant sales, Allingham points out, that the technical quality of the actual product was quite poor when compared to the other major competitors. Still the studio was able to maintain an edge by using some unorthodox policies. For example it was well known that musicians under contract with rival companies were welcome to record, under-the-table, with pseudonyms if they needed cash. Many took advantage of this grey approach including Kippie Moeketsi, Ntemi Piliso and others. Sadly, none of the recording ledgers have survived and very few songs can be accurately dated with the full personal. (Allingham)

The company’s fall was as dramatic as its rise. After Matumba died in a car accident in May 1965, Troubadour began a rapid decline and by 1969 they were completely consumed by Gallo and ceased to exist.

Mafuya’s own singing career was severely affected after a botched thyroid operation in 1957. But still she was able to perform and towards the end of the decade formed a group with Thobei and Thandeka Mpambane known as the Chord Sisters. In 1958 the group was encouraged to join the King Kong crew and Mafuya played a small acting role in the classic 1959 play. After that success she was invited to travel with the cast to London and stayed there for a year. Mafuya eventually returned to South Africa and continued with her acting career. She would later perform in the hit TV sitcom Velaphi.

While her singing career turned out to be quite short, Mafuya was nevertheless prolific and the tracks featured below reveal just a small part of her excellent output during a turbulent but also dynamic time. For a provisional discography of Mafuya visit flatint.

Postscript: Mafuya in her 1993 interview with Molefe, laments over the fragmentation of the music tradition in South Africa: “The young sisters nowadays seem to have no idea of where they come from. They don’t know us. But who can blame them. Nobody told them about us.” (Molefe)



MABEL MAFUYA ON 78 RPM
(1956 - 1960)
(Flat International / Electric Jive, FXEJ 9)

01) MABEL MAFUYA AND HER GIRLFRIENDS
Regina - 1956 (Matumba, Troubadour, AFC 364, RSA)
02) MABEL MAFUYA AND HER GIRLFRIENDS
Baba - 1956 (Matumba, Troubadour, AFC 364, RSA)
03) MABEL MAFUYA AND THE SATCHMO SERENADERS
Tsili - 1956 (Monamoeli, arr. Mafuya, Troubadour, AFC 387, RSA)
04) MABEL MAFUYA AND THE SATCHMO SERENADERS
Satchmo Special - 1956 (Monamoeli, arr. Mafuya, Troub., AFC 387)
05) MABEL MAFUYA AND THE SATCHMO SERENADERS
Khumbula - 1957 (Mafuya, Troubadour, AFC 416, RSA)
06) MABEL MAFUYA AND THE SATCHMO SERENADERS
Woza Skanda Mayeza - 1957 (Mafuya, Troubadour, AFC 416, RSA)
07) MABEL MAFUYA
Bumba Lo Ntsimbi - 1957 (Mafuya, Troubadour, AFC 417, RSA)
08) MABEL MAFUYA
Ungibalele - 1957 (Mafuya, Troubadour, AFC 417, RSA)
09) MABEL MAFUYA AND THE STARLIGHT BOOGIES
Heyta! - 1957 (Mafuya, Troubadour, AFC 427, RSA)
10) MABEL MAFUYA AND THE STARLIGHT BOOGIES
Kehlela - 1957 (Mafuya, Troubadour, AFC 427, RSA)
11) ALEXANDRA CASBAHS
Azikhwelwa - 1957 (Mafuya, Thobei, Troubadour, AFC 429, RSA)
12) ALEXANDRA CASBAHS
Alexandra Special - 1957 (Mafuya, Thobei, Troub., AFC 429)

13) MABEL MAFUYA AND THE STARLIGHT SERENADERS

Charlie - 1957 (Mafuya, Troubadour, AFC 434, RSA)

14) MABEL MAFUYA AND THE STARLIGHT SERENADERS

Chomie - 1957 (Mafuya, Troubadour, AFC 434, RSA)

15) RUTH MOLIFI AND THE STARLIGHT SINGERS

Asikhathali - 1957 (Molifi, Troubadour, AFC 440, RSA)

16) RUTH MOLIFI AND THE STARLIGHT SINGERS

Mfana - 1957 (Mafuya, Troubadour, AFC 440, RSA)

17) MABEL MAFUYA

Silindele Christmas - 1959 (Ngubane, Troubadour, AFC 534, RSA)

18) MABEL MAFUYA

Sisaphila - 1959 (Ngubane, Troubadour, AFC 534, RSA)

19) MABEL MAFUYA

Cato Manor - 1960 (Ngubane, Troubadour, AFC 567, RSA)

20) MABEL MAFUYA

Beer Halls - 1960 (Ngubane, Troubadour, AFC 567, RSA)

21) MABEL MAFUYA

Sibarie - 1960 (Ngubane, Troubadour, AFC 579, RSA)

22) MABEL MAFUYA

Umtata - 1960 (Ngubane, Troubadour, AFC 579, RSA)

23) MABEL MAFUYA

Happy Xmas - Happy New Year - 1960 (Ngubane, Troub., AFC 584)

24) MABEL MAFUYA

Jabulani Xmas - 1960 (Ngubane, Troubadour, AFC 584, RSA)

25) MABEL MAFUYA

Ngi Yeka - 1960 (Ngubane, Troubadour, AFC 608, RSA)

26) MABEL MAFUYA

Itlalo Ya Lizwe - 1960 (Ngubane, Troubadour, AFC 608, RSA)

MABEL MAFUYA ON 78 RPM

(1956 - 1960)

(FXEJ 9)