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

MF

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

MF

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

New Year Jive! An EJ Special

Merry Christmas and Happy New Year from Electric Jive!

We hope you’ve been enjoying the festive treats shared throughout December – and it is my pleasure to bring 2014 on EJ to a close with a smashing goody bag of 1960s and 1970s mbaqanga. Whether you’re ringing in the New Year with a celebratory party or doing something rather low key does not matter one iota – whatever your situation, our New Year Jive is the compilation that you NEED to be playing at full volume (and dancing along to) when the clock strikes twelve!

The girl group and groaner combination almost exclusively dominated the black pop music scene of 1960s and 1970s South Africa. The origins of the trend go back to the late 1950s with the birth of a girl group factory-line, the slow development of jive and the ultimate decline of intricate African jazz. Electric instrumentation arrived at the right time and the foundations of mbaqanga were laid. The tame early electric jive soon advanced into the now familiar rock-solid elastic mbaqanga, personified by fierceness, energy and thunder. Ensembles like the Sweet Sixteens and the Dark City Sisters successfully paved the way for the Mahotella Queens, who in turn influenced the formation of Izintombi Zesi Manje Manje, and on and on the story goes. Key to the success of the new mbaqanga girl groups were the strong-willed and determined studio producers (or ‘talent scouts’) who ran tight ships, encouraged a factory-line approach to music making and held close relationships with people in the right places – which ensured mbaqanga music was almost vehemently propagated across the state broadcaster’s Radio Bantu service. Although this chagrined the African elite, mbaqanga was already becoming a national craze and the black public firmly embraced the music in very much the same way their counterparts in the United States embraced the Motown sound.

“Utshodo Lumantwengu” is a fantastic example of mid-1960s girl group mbaqanga. This tune, telling the story of a girl fighting off the advances of a romeo hobo, was recorded in 1966 by Nobesuthu and Gcaba Twins. This shortlived trio produced a number of up-tempo vocal jives during 1965 and 1966 before the main singer – Nobesuthu Shawe – joined the rival Izintombi Zesi Manje Manje in 1967. One of Izintombi’s first big hits was “Pendula Magwala”, a fast-paced number with thrilling drum patterns and tightly layered vocal harmonies. Izintombi’s lead singer was Sannah Mnguni – who by 1972 had built up enough recognition and popularity to feel able to quit the group and form a brand-new ensemble named Amagugu. Sannah’s notoriety is celebrated in a collaboration with Zulu-traditional guitarist Frans Msomi and violinist Ncane Ndlovu, the appropriately-titled “Sannah”.

Although Izintombi tried and sometimes even overtook them in the popularity stakes, the Mahotella Queens were South Africa’s most popular girl group of the mid-to-late 1960s and early 1970s, releasing a string of hugely successful singles (on both 78 and 45rpm) and performing in venues ranging from wedding parties to huge soccer stadiums. “Jive Jibav No. 7” tells every boy and girl in the country to take part in the latest dance craze, while “Isigubhu Sabalozi No. 2” – the 1972 follow-up to a huge 1970 hit of the same name – emphatically states that the tough Mavuthela mgqashiyo beat shall never die. By the mid-1970s, the Queens’ tour schedule was so hectic that a number of other vocalists kept their name going on record. A multi-tracked Irene Mawela performs “Uthando Luyisilima” alongside Potatoes Zuma, aka Indoda Mbhodlomane, a wonderful bass vocalist but someone whose stage name rides the waves of that true king of the groaners, Indoda Mahlathini.

Two other groaners following in Mahlathini’s footsteps were Umfana Wembazo – real name Robert Mkhize – and Boy Nze – otherwise known as Lazarus Magatole. Mbazo’s vocals can be heard punctuating the chorus in Dulcie Luthuli Nabalilizeli’s “Ntomb’uthini” and in his own splendid solo effort, “Maye Mina”. Boy Nze’s “Uzobuya” isn’t one to miss either – it’s perhaps one of the finest solo records from a male vocalist that I’ve ever heard.

Alongside the Queens at Mavuthela were junior bands, some of whom over the years included the Mthunzini Girls, Izintombi Zomoya, Umgungundlovu Dolls, Love Birds and many others. The Mthunzini Girls borrow from the US and inject soul into the mbaqanga brew – Paulina Zulu is the lead singer on (and songwriter of) “Tsohang” and “Ikele Ngoaneso”, two downright funky Sotho tunes that should at least make your foot tap. Izintombi Zomoya’s “Isilomo” – a fantastically rapid tune with animated vocals and excellent lively instrumentation – should also stir your soul.

A few more notable highlights for me - "Orlando", featuring the perennial vocal sound of the Dark City Sisters in all their mid-1960s glory, with Esther Khoza shouting words of praise for the Orlando Pirates; the group's 1976 Sotho ode "Dikgarebe" with Grace Msika's mid-song chant and Joyce Mogatusi's inimitable alto; "Daly", from the somewhat unknown Lesotho Sisters, just for the delightfully swish three-part harmonies; "Sophie" by Izingane Zomgqashiyo and its sweet lead guitar patterns; the strength of vocal passion in the Umgungundlovu Dolls' "Vuka Uvale"; the archetypal electric elasticity in all its glory in Reggie Msomi's Love Birds' "Uzwakanjani"; and the effective simplicity of the all-too-short "Umhlaba Awunoni" from Izintombi Zesi Manje Manje under another name.

So that’s all from Electric Jive for the moment. Whatever the New Year brings, you can rest assured we'll still be doing our utmost best to bring the sounds of yesteryear back to the forefront where they belongs. We're very grateful for all the support and appreciation you send our way - we just do it for the music and the people who created it all. So... download the following mix of mbaqanga heaven and clear the floor, ready to jive until you drop.

See you in 2015!

Enjoy!

NEW YEAR JIVE!
COMPILED BY NICK LOTAY

01) NOBESUTHU AND GCABA TWINS – UTSHODO LUMANTWENGU (1966)
02) DARK CITY SISTERS – ORLANDO (c1965)
03) S’MODERN QUEENS – PENDULA MAGWALA (1967)
04) MARULA BOOM STARS – JIVE JIBAV NO. 7 (1965)
05) LESOTHO SISTERS – DALY (c1966)
06) IZINGANE ZOMGQASHIYO – SOPHIE (1968)
07) IZINTOMBI ZOMOYA – ISILOMO (1972)
08) BOY NZE – UZOBUYA (1971)
09) DULCIE LUTHULI NABALILIZELI – NTOMB’UTHINI (1971)
10) MSOMI AND AMAGUGU – SANNAH (1977)
11) UMGUNGUNDLOVU DOLLS – VUKA UVALE (1970)
12) MTHUNZINI GIRLS – TSOHANG (1972)
13) IZINTOMBI ZESI MANJE MANJE – SHE KEEPS ON KNOCKING (1974)
14) MTHUNZINI GIRLS – IKELE NGOANESO (1972)
15) AMAQHAWE – UMHLABA AWUNONI (1974)
16) DARK CITY SISTERS – DIKGAREBE (1976)
17) MAHOTELLA QUEENS – ISIGUBHU SABALOZI NO. 2 (1972)
18) INDODA MBHODLOMANE & MAHOTELLA QUEENS - UTHANDO LUYISILIMA (1974)
19) UMFANA WEMBAZO – MAYE MINA (1974)
20) REGGIE MSOMI’S LOVE BIRDS – UZWAKANJANI (1977)

MF

Soul Jive Special - 20 groovy hits from 1970s South Africa

Today, I jump on board the soul train and follow Chris with a similar selection of goodies. But rather than the disco-led sound of the later 1970s, I have gone back a few years prior to focus on the unique musical meld produced at the height of the soul era. Soul Jive Special features 20 fantastically groovy hits from The Sailors, The Planets, The S.A. Supremes, The Big Six, The Ribbons and a bevvy of other stars, all released between 1969 and 1976.

It was only natural that urban Africans should look towards their African-American counterparts for influence on fashion and music. Although SA was blessed with its own vibrant and rich musical scene, it was inevitable that artists such as Percy Sledge, The Temptations, Willie Mitchell, Booker T and the MGs and many other similar artists would gain huge followings there. The ‘sound of young America’ was eventually replicated through the formation of black soul outfits and even in the repertoires of popular mbaqanga bands.

We begin this compilation with a rather left-field soul recording from Amagugu, the last of a long line of mbaqanga girl groups to attain hugely lasting popularity in South Africa. The group was led vocally by Sannah Mnguni – originally lead singer of Izintombi Zesi Manje Manje – and musically by lead guitarist Hansford Mthembu, an all-round musical mastermind who successfully experimented with both traditional African and western influences. On “Sanibonani” and “Izinsimbi Zomshado”, both Hansford’s virtuosity and the influence of the late 1960s American soul comes through marvellously. Hansford later reworked “Sanibonani” into a few instrumentals such as “Tomorrow’s Wedding” and “For Ever” (both available on Electric Jive).

From girl groups to something positively psych. “Tirimela” is a 1973 soul vocal from The Sailors. This was one of two hugely successful hits – the other was “Meja” – for this shortlived Tsonga soul band that recorded for Mavuthela during the early 1970s. The melody of “Tirimela” is more or less the same that appears on the equally delightful “Akulalwa eSoweto”, a hit from the same year for Irene Mawela and the Mgababa Queens. But while Irene’s sweet vocals give that particular song its underlying atmosphere of joy, “Tirimela” goes in a completely different and rather ominous direction. It is a brilliant track not to be missed.

‘Bops’ was the nickname of Rupert Bopape, director of the Mavuthela powerhouse that consistently pumped out the most successful African music during the 1960s, the 1970s and well into the 1980s – but Bopape only wrote lyrics, so why ‘Bops and Son’ is the artist credited with performing the fabulous instrumental “Chicken Soul” is anyone’s guess. But this particular number – one of my absolute favourites – has just the right ingredients: flute, electric piano, guitar, bass, drums and tambourine all combine to create a musical atmosphere that comes across as both dense and airy at the same time.

Three of the soul ballads in Soul Jive Special are provided by a group named The S.A. Supremes, a large boast but not one entirely misplaced. The S.A. Supremes – Star Mabaso (lead vocal), Ntsiki Gwabeni, Teddy Nkutha and Thembi Nteo – were formed in 1970 by producer David Thekwane at Teal Records. They were backed by The Movers and made a number of successful recordings and performances, until Thekwane’s harsh treatment sent the ladies on their way to EMI in 1973. Now under the direction of Martin Mdelwa Mhlanga, The S.A. Supremes re-recorded some of the hits they had created in conjunction with The Movers – such as “Okungapheli” – but also started to cover a large number of American hits. Check out the sublime cover of Roberta Flack’s “Killing Me Softly With His Song”.

The popular mbaqanga girl groups of the day were not strangers to soul and often dispensed with jive to perform some delightfully upbeat grooves. Under a different pseudonym, the famous Mahotella Queens sing “Way Down Gear”, in which a young girl states that she intends to give up all her vices for her man – complete with oh-so-relevant shouts of ‘sock it to me!’. Izintombi Zomoya, on the other hand, simply sing about the delights of blatant dancing to the organ-led beat in “Mojiko Wa Soul”. Another of the big female groups, Izintombi Zesi Manje Manje, follows up with “Nomali”, a ballad about a failed relationship – “Nomali, will you please come back to me… you’ll wash away all my troubles”, sing the ladies ardently.

Another of my favourite instrumentals is “Soul Mabone” as performed by The Planets – which, if one listens carefully, is actually a cover of “Six Mabone” by The Movers (without a credit to the original composer). But I love the driving beat of this reinterpretation, which substitutes the vocalists on the Movers version with an alto saxophonist. And do not miss out on Abafana Bamagoduka’s florid organ-led “Go Easy”, a wonderful cover of Paul Simon’s 1972 hit “Mother And Child Reunion”.

Many thanks to Laurent Dalmasso for providing Electric Jive with copies of tracks 9 and 13 - much appreciated, Laurent!

All you have to do now is to download, play and enjoy... it’s groovy, man!

SOUL JIVE SPECIAL

COMPILED BY NICK LOTAY

01) SANIBONANI – AMAGUGU (1972)

02) TIRIMELA – THE SAILORS (1973)

03) CHICKEN SOUL – BOPS AND SON (1976)

04) EVIL WAYS – THE BOOGALOOS (1972)

05) KAJEBANE – IZINGANE ZO MGQASHIYO (1969)

06) OKUNGAPHELI – THE S.A. SUPREMES (1973)

07) PRETTY BABY – THE PLANETS (1974)

08) AFRICAN FINGERS – SIPHO AND HIS JETS (1976)

09) WAY DOWN GEAR – THE JOLLY KIDS (1972)

10) T.Y. NO. 4 – SAMMYBOY NEZIMPISI (1976)

11) TSIETSI YATSILA – THE RIBBONS (1972)

12) KILLING ME SOFTLY WITH HIS SONG – THE S.A. SUPREMES (1973)

13) NOMALI – IZINTOMBI ZESI MANJE MANJE (1974)

14) HEY GIRL – THE BIG SIX (1976)

15) SOUL MABONE – THE PLANETS (1974)

16) MOJIKO WA SOUL – IZINTOMBI ZO MOYA (1969)

17) MAJIKEDUZE – DIMA SISTERS (1970)

18) GO EASY – ABAFANA BAMAGODUKA (1972)

19) DRIFT AWAY – THE S.A. SUPREMES (1973)

20) IZINSIMBI ZOMSHADO – AMAGUGU (1972)

MF

Izintombi Zesi Manje Manje: Ujabulisa Abantu (1978)

Quite why it took so long to get around to sharing this album, I cannot explain. Hamilton Nzimande not only produced this warm blend of mbaqanga-soul, he is credited with having composed all the tracks too.

While the backing band is not identified, this slick outfit does sound very much like the Nzimande All Stars to me. Izintombi ZMM (The Now Now Girls) were riding a southern African wave of 'super-group' popularity, with this particular album being pressed in South Africa, Zimbabwe and Zambia.

 Previous detailed Electric Jive posts on 'Izintombi' can be found here and here and here and here.

SIDE ONE

1. BABEHLEKISA NGATHI
2. KUDALA BENGITSHELA
3. NGIXOLELE MNGANI
4. SALA MARADEBE
5. BENGISEBENZA EGOLI
6. NGEKE SIWAKHE LOMUZI

SIDE TWO

1. UJABULISA ABANTU
2. NGIXOLELE BABA
3. EMENDWENI KUYASHISA
4. IZINDLELA ZIYAHLANGANA
5. EKHAYA KULEZONTABA
6. NINGIBULALA NGIPHILA

Mediafire here

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

Classic Mbaqanga Girl Groups - Vol. 4

ABOVE - IZINTOMBI ZESI MANJE MANJE IN 1975.

CLOCKWISE FROM TOP LEFT: LINDIWE MTHEMBU, JANE DLAMINI, NOBESUTHU SHAWE, RUTH MAFUXWANA

Collecting records from the glory days of black South African music invariably results in the accumulation of “factory-line stuff”. It is something inherent within mbaqanga music, which was as quick to produce as the traditional snack it was named after. But very often, that factory-line material would be intercepted. The individual talents and geniuses of the wonderful musicians in the studio would collide spectacularly and explode. The results of that explosion were stunning masterpieces that blended superb vocal harmony and sumptuous guitar rhythm together seamlessly. It is these masterpieces that Electric Jive presents here proudly today – the fourth installment of our regular series, Classic Mbaqanga Girl Groups.

“Awuthule Bo”, recorded in 1970, is one of the classic hits from the Mahotella Queens repertoire during their most successful era. Nobesuthu Shawe, one of the group’s regular vocalists and the composer of this song, tells her baby through fabulous high-spirited jive to listen to mother and quieten down. The ladies’ 1967 tune “Umuzwa Ngedwa” is an oddity because of its unusual swing-like melody, a throwback to the styles that their brand of mbaqanga had replaced. On the other hand, “Metsoalle Yaka”, is a deeply soul-infused 1970s number with some crazy-brilliant vocal work, featuring the golden voices of Thandi Radebe, Beatrice Ngcobo, Emily Zwane, Thandi Nkosi, Constance Ngema and Caroline Kapentar. The Mahotella Queens was perhaps the finest example of a truly classic mbaqanga girl group. The harmonies blended perfectly, the songs – either based on themes of love, folklore or topical matters – were always relevant, and the essential instrumental backup from the Makgona Tsohle Band was as raw and emotive as possible. Just one listen to their selections in this compilation certainly does go some way towards confirming those statements.

While the Mahotella Queens was the first group on the scene to pioneer the new, more electric-led female vocal jive of the mid-1960s, they were certainly not the only team of singers to shoot to stardom with beautiful recordings. Izintombi Zesi Manje Manje arose some three years after the Queens had already bedded into the market as the most successful female group of the 1960s, but this wasn’t going to deter Sannah Mnguni and her fellow songbirds, Thopi Mnguni, Thoko Khumalo and Nunu Maseko, from challenging the Queens for the crown. “Salani Kahle” spotlights Sannah’s beautiful vocal talent against the solid rhythm of the group. Along with the likes of mbaqanga vocalists such as Hilda Tloubatla, Irene Mawela, Olive Masinga and Julia Yende, Sannah possessed a voice that was instantly recognisable no matter which group she recorded with. She had left Izintombi Zesi Manje Manje in 1968, moving to the famous and well-known girl group the Sweet Sixteens which was led by Irene. Although Sannah did record some enchanting, hypnotic tunes with the group like “Uthuleleni”, she decided to return to Izintombi in 1970, bringing with her a junior Sweet Sixteen, Jane Dlamini. In 1972, the Izintombi line-up was thrown into jeopardy when the core members of the team resigned. Sannah, Thopi and Thoko – as well as lead guitarist Hansford Mthembu, Thopi’s husband – left the company and joined EMI, where they formed a successful new mbaqanga girl group called Amagugu. It remained a popular act until the early 1980s, when changing musical tastes brought an end to the dominance of the mbaqanga girl group. Izintombi Zesi Manje Manje retained its popularity through the early 1970s with a revised line-up: Jane Dlamini was joined by Nobesuthu Shawe (joining Isibaya after four years with Mavuthela’s Mahotella Queens), Beatrice Ngcobo (who was to depart the group soon and join the Mahotella Queens later in 1973), Lindiwe Mthembu and Ruth Mafuxwana. “Siya Kwa Mzilikazi”, featuring Izintombi’s regular groaner Saul Shabalala, was one of the many hits recorded by this newer incarnation of the group. "Sicela Indlela", another tune of similar vintage, sounds so carefree and laidback that it's almost as if the ladies are jamming with each other at a rehearsal.

During the mid-to-late 1960s, Mavuthela Music’s roster expanded so that set units of female singers were formed, utilising many of the names originated by Rupert Bopape back in 1964, and arranged almost in a hierarchy: the so-called “top tier” was the group that recorded under the names Mahotella Queens, Marula Boom Stars, Soweto Stars, Dima Sisters, Izintombi Zomgqashiyo, and the Sweet Home Dames. A second regular unit, featuring the voices of singers such as Julia Yende and Windy Sibeko, recorded under names including the Mthunzini Girls and Izingane Zomgqashiyo. “Sangena, Sangena” is an infectiously loud tune that has a slight-rumba feel to the rhythm – and a melodica is included in the band for good measure! On the other hand, “Akashaywa Umfazi” is the top tier at its best. Written by vocalist Mildred Mangxola and featuring Simon 'Mahlathini' Nkabinde on lead vocals, the song refers to physical abuse against women, although the song could be categorised as being more “classic mbaqanga” than “ballad”. Mangxola had joined Mavuthela in 1965 with her group, the Daveyton Sisters, with whom she had been singing since she was in her teens. The Sisters recorded some solid material for Mavuthela, but was to eventually disintegrate, with Mangxola and fellow Daveyton vocalist Thoko Nontsontwa joining the Mahotella Queens. Mangxola's wonderful, lively vocals can be heard prominently on "Akashaywa Umfazi", "Sengibuya Emarabini" (in which she has a very brief solo) and on an early tune with her old bandmates, "Ulele Emini U Makoti", a song composed by Makgona Tsohle Band drummer Lucky Monama.

After Mahlathini left Mavuthela in 1972 following a dispute over royalty payments with Rupert Bopape, he formed a new group called Amakhosazana which found some astonishing success as a performance-only group. This venture lasted only two years, after which the great groaner joined the new black music operation recently started at Satbel Record Company. Cambridge Matiwane, producer of the new subsidiary, busied himself building up a roster of artists to rival the material pumped out of the successful Mavuthela and Isibaya stables. Mahlathini preferred to work in conjunction with a female group, and although the Mahotella Queens remained the sole property of Gallo’s Mavuthela, a new group was formed at Satbel that was simply named The Queens. Pay disputes over at Gallo saw several of the Mavuthela singers move over to Satbel to record with Mahlathini. These included Koekie Makhanya, Mildred Mangxola, Ethel Mngomezulu and Thoko Nontsontwa. The Queens recorded some of the finest female vocal classics one can find. The raw passion and emotion came across in whatever song they sang, be it a ballad (“Siyaniduduza”, “Nginothando”) or a lively and boisterous tune (“Baratsale”, “Mhlobo Mdala”). Also at Satbel was Izintombi Zephepha, a group led by former Mahotella Queens and Izintombi Zesi Manje Manje vocalist Nunu Maseko. The group mostly recorded with singer Victor ‘Mahlabathini’ Zulu, a fine vocalist and groaner.

Mahlathini Nezintombi Zomgqashiyo (or “MNZ”) was a shortlived reunion between the groaner and five of the 1960s line-up of the Mahotella Queens. MNZ, which was put together by Marks Mankwane in 1983 on the back of a nostalgia trip for mbaqanga’s heyday, was named in that way so as not to disturb the Mahotella Queens line-up of that time, which had been stable for some years by that point. Interestingly, MNZ’s 1984 LP Pheletsong Ya Lerato features Mahlathini on only two of the ten tracks, making that particular album more or less an Izintombi Zomgqashiyo project. “Moradi Wa Mofokeng” is perhaps one of the finest songs produced by this line-up. Hilda Tloubatla, one of the most recognisable and popular lead vocalists of mbaqanga's heyday, leads the ensemble here, and the troupe's vocals are nothing short of strong, hearty and passionate. Backed by the unrelenting beat of the Makgona Tsohle Band, this certainly is the “A” team performing at its very best. While Mahlathini Nezintombi Zomgqashiyo busied themselves recording some of their best new material since the 1960s, the latter-day Mahotella Queens led by Emily Zwane solidly carried on recording the wonderful, sturdy, easy-listening material they were famous for. “Moleko Ntlohele” is a rich, watery ballad that spotlights their beautiful, soulful and emotive voices.

Thanks to Siemon Allen for contributing the Mahotella Queens songs “Awuthule Bo” and “Metsoalle Yaka”, and to Chris Albertyn for the equally wonderful songs from the Sweet Sixteens and Mahlabathini. I’m very grateful to both of you for your help in adding to this collection of classic, wonderful jive…

…and now, it’s over to the girls for another dose of goodness from the archives of yesteryear. I sincerely hope you download and enjoy.

YEBO!

CLASSIC MBAQANGA GIRL GROUPS
COMPILED BY NICK LOTAY
VOLUME 4

1. Awuthule Bo*
Mahotella Queens
Gumba Gumba BL 123
1970
FROM THE LP "BEST OF THE MAHOTELLA QUEENS"
*COURTESY OF SIEMON ALLEN

2. Sangena, Sangena
Izingane Zo Mgqashiyo
Motella LMO 110
1968
FROM THE LP "INDODA MAHLATHINI"

3. Salani Kahle
Izintombi Zesi Manje Manje
CBS CB.4007
1971

4. Mmathobela
Mahotella Queens
Gumba Gumba MGG 716
1977

5. Uthuleleni*
Sweet Sixteens
Troubadour SPA 892
1969
*COURTESY OF CHRIS ALBERTYN

6. Siyaniduduza
The Queens
Soweto SWB 136
1974

7. Siya Kwa Mzilikazi
Izintombi Zesi Manje Manje
CBS LAB 4042
1973
FROM THE LP "SIYA EMSHADWENI"

8. Umuzwa Ngedwa
Mahotella Queens
Smanje Manje SJM 7-5
1967

9. Akashaywa Umfazi
Sweet Home Dames
Motella LMO 110
1968
FROM THE LP "INDODA MAHLATHINI"

10. Baratsale
The Queens and Ndlondlo Bashise Band
King KGB 034
1976

11. Metsoalle Yaka*
Mahotella Queens
Gumba Gumba BL 123
1977
FROM THE LP "BEST OF MAHOTELLA QUEENS"
*COURTESY OF SIEMON ALLEN

12. Mathamyizimimyaba*
Izintombi Zephepha
Soweto SWB 14019
1976
FROM THE LP "MAHLABATHINI AND IZINTOMBI ZEPHEPHA"
*COURTESY OF CHRIS ALBERTYN

13. Musu Dlala Ngami
Mahlabathini
King KGB 006
1976

14. Iminyaka Kayifani
Izintombi Zesi Manje Manje
Masterpiece LMS 529
1977
FROM THE LP "IMINYAKA KAYIFANI"

15. Maile
Mahotella Queens
Gumba Gumba BL 226
1980
FROM THE LP "TSAMAYA MORATUOA"

16. Moradi Wa Mofokeng
Izintombi Zomgqashiyo
Gumba Gumba BL 457
1984
FROM THE LP "PHELETSONG YA LERATO"

17. Moleko Ntlohele
Mahotella Queens
Hit Special IAL 4005
1984
FROM THE LP "KHWATHA O MONE"

18. Vulamehlo
S'morden Girls
Masterpiece MS 508
1980

19. Sidlala Yonke Imidlalo
Izintombi Zesi Manje Manje
Masterpiece LMS 529
1977
FROM THE LP "IMINYAKA KAYIFANI"

20. Ha Bo Tle
Mahotella Queens
Gumba Gumba BL 226
1980
FROM THE LP "TSAMAYA MORATUOA"

21. Sikhulekile*
Mahlabathini and Izintombi Zephepha
Soweto SWB 14019
1976
FROM THE LP "MAHLABATHINI AND IZINTOMBI ZEPHEPHA"
*COURTESY OF CHRIS ALBERTYN

22. Nimzwile Umntimande*
Sannah Mnguni Nesimanjemanje
CBS AB 284
1971
*COURTESY OF CHRIS ALBERTYN

23. Nginothando
The Queens and Ndlondlo Bashise Band
King KGB 034
1976

24. Awungifanelanga*
Sweet Sixteens
Troubadour SPA 892
1969
*COURTESY OF CHRIS ALBERTYN

25. Hole Thaba
Dark City Sisters
HMV JP.1002
1966
FROM THE LP "STARTIME VOL. 3"

26. Ulele Emini U Makoti
Daveyton Sisters
Gallo-USA USA 320
1965

27. Sicela Indlela
Izintombi Zesi Manje Manje
CBS LAB 4042
1973
FROM THE LP "SIYA EMSHADWENI"

28. Uyangizungeza Lombemu
Usizwe Namatshitshi
CBS LAB 4022
1971
FROM THE LP "NOMA UNGAYAPHI BAKHALA NGATHI"

29. Mhlobo Mdala
The Queens and Ndlondlo Bashise Band
King KGB 035
1976

30. Sengibuya Emarabini
Mahotella Queens
Motella LMO 110
1968
FROM THE LP "INDODA MAHLATHINI"

RS / MF

ABOVE - IZINTOMBI ZESI MANJE MANJE IN THE STUDIO IN 1976.

FROM LEFT TO RIGHT: LINDIWE MTHEMBU, JANE DLAMINI, RUTH MAFUXWANA, NOBESUTHU SHAWE AND HILDA TLOUBATLA

Classic Mbaqanga Girl Groups - Vol. 3

ABOVE - THE MAHOTELLA QUEENS IN 1980.

CLOCKWISE FROM TOP LEFT: CAROLINE KAPENTAR, THANDI NKOSI, EMILY ZWANE AND SHEBA MALGAS

There comes a time when a particular song becomes ingrained in your mind. Every tune in this mix has been, at one time or another, one of those songs for me. Electric Jive is proud to present another installment of Classic Mbaqanga Girl Groups, our ode to the black South African songbirds of the 1960s and the 1970s. In this, the third volume, more rare gems from the archives are presented for you to enjoy – but I have decided to dispense with the usual format of a long mix in a single MP3 and instead provide you all with a compilation of individual tracks. The first two mixes in this series combined have been downloaded 1809 times (as of 22/10/12), which shows how well liked this particular form of female harmony sound is among the EJ followers – but I have taken into consideration the lack of flexibility of the single MP3. Many of you will have your own particular favourites to listen to, so I hope the new method of sharing the tracks individually is more helpful!

Without further ado, let us now shine some light on the people responsible for such beautiful music.

“Silihambile Ilizwe” features the 1972 incarnation of Izintombi Zesi Manje Manje, here fronted by resident groaner Mthunzi Malinga. The resonating guitar and soft vocals of the girls endeared me to this song almost as soon as I first heard it. Mthunzi weaves in and out of the girls’ harmonies with guttural moans, while Nobesuthu Shawe solos in the number with expressive beauty. The song refers to the amazement and excitement of travelling across the country to perform for appreciative audiences who clap their hands vigorously. It is a true gem of a song, and one that I am glad to share with you. One of Izintombi Zesi Manje Manje’s early recordings, “Shela Wethu”, features some lovely vocal work in combination with the classic elasticated mbaqanga rhythm section.

“Ngibuzindlela” is perhaps the best example of the female vocal mbaqanga that sold very highly during the 1960s, should one ever need to select one single track to represent the genre during that era. The track has all the key elements, from the bouncy electric rhythm and bass to the watery lead guitar, the smashing brushed snare, and – of course – the close harmony of the Soweto Stars, the group merely being another name used by the Mahotella Queens. The five ladies on this song were the most famous and well known of all the Queens line-ups. Hilda Tloubatla fulfills the role of the strong-voiced woman lead singer here (belting out the vocals with utter proficiency has perhaps become one of Hilda’s most familiar trademarks in all her 50 years of recording!), answered by the rest of her team with a superb response. “Uhlathana” is another classic hit from the Mahotella Queens repertoire, recorded in 1970. A different grouping of the same pool of ladies sing in a rough-and-ready manner, raw mgqashiyo singing at its best, while the Makgona Tsohle Band provide some of the best instrumental accompaniment I have ever listened to. A great number not to be missed!

Another popular group back in the day was the Mthunzini Girls. Originally, the name was just yet another cover for the pseudonymous work of the Mavuthela girl group team, but by 1966, had evolved into a separate unit led by Julia Yende. This group, also featuring Virginia Teffo, Teddy Nkutha and Windy Sibeko, recorded some of the Girls’ best-selling material, often fronted by the regular Mahotella Queens groaner, Mahlathini – but the singers eventually dispersed. By 1972 it had settled down into a more stable unit. John Moriri was now the male lead of the group for the last four or so years (but he was eventually to depart, being replaced the year after by Robert ‘Umfana Wembazo’ Mkhize), with the Girls comprising Beatrice Ngcobo, Phyllis Zwane, Thandi Nkosi, Maseri Nombembe, Beauty Radebe, Barbara Shabalala, and others. One of the latter-day Mthunzini Girls hits was “Uyadelela”, a lovely song with the vocal and guitar patterns evocative of traditional Zulu music. Also included here is a 1968 song called “Umnumzane”, which although released with the Mthunzini name, is actually a Mahotella Queens song – unusually late in the decade for that practice to still be in use. It is, nonetheless, a nice tune!

You will find that many of the tracks in this mix benefit from exquisitely beautiful guitar work. The Satbel black music team of the 1970s featured a talented collection of lead guitarists such as Raphael Ngcamphalala, George Mangxola, Michael Nyembe whose distinctive handiwork helped to create an airy, atmospheric sound to the recordings of the Mellotone Sisters, Indoda Mahlathini and The Queens, Victor ‘Mahlabathini’ Zulu, and many others. The two numbers contained here by The Queens (the girl group that backed Mahlathini whenever he was away from Gallo–Mavuthela’s Mahotella Queens) are gems in their own right. Koekie Makhanya, Mildred Mangxola, Isabel Maseko, Agnes Mhlauli, Thoko Nontsontwa, Joyce Twala and Paulinah Zulu provide richly sumptuous vocals and march through the tunes in stunning synchronization, backed by Ndlondlo Bashise (who were also credited in equal measure as The Mahlathini Guitar Band).

“Siyobona umdlalo omusha – iDisco! iDisco! iDisco!” sing the Mthembu Queens. The new late 1970s music craze ebbed away at mbaqanga’s longstanding popularity in the townships, but that’s no problem for these ladies. They’re going to Soweto to see this new disco music in action! We’re doing the disco dance! The song in question, “Asambeni”, is completely un-disco to the point of confusion. This is a female mbaqanga classic, it could not be further from disco music, with guitars scratching all over the melody alongside some wonderful vocal talent. The Mthembu Queens, one of the few successful new girl groups of the 1970s, also give us the sweet serenade “Julieta”, the message of a man’s love for a woman who doesn’t appreciate him in the same way. No more remains to be said – just listen to their passionate and mesmerising voices.

That new disco music did indeed eventually force mbaqanga producers to alter the familiar sound somewhat. A heavier drum mix combined with the 1970s soul organ entered the studio, and the trademark bouncy rhythm guitar was retired, to be replaced by either a second lead guitar – or, in many studios, nothing at all. The lead guitar and bass remained the key elements of mbaqanga even into the 1980s. But while the Soul Brothers were leading the way with their popular mbaqanga-soul fusion, the Mahotella Queens were still quietly and confidently going about their business – bizarrely, to some degree of success. Alto vocalist Beatrice Ngcobo leads the ladies in fine voice in the 1982 song “Malume”, a young woman’s wish for her uncle to forgive her for all the unforgiveable things she did as a youngster. I’m so sorry my uncle, sings Beatrice. I’m so sorry… I’d like to return home to my family, continue the Queens. The ladies managed to hang onto some of their popularity well into the 1980s, and producer Marks Mankwane even saw fit to reunite five of the original Queens together with Mahlathini under a brand new grouping entitled Mahlathini Nezintombi Zomgqashiyo (or “MNZ”). The MNZ group and the Mahotella Queens, rather oddly enough, existed alongside each other and remained two separate units. One of the MNZ songs recorded without Mahlathini, “Ha Ke Tsebe” from 1984, has been included in this compilation. It is a typical love song with nice and relaxed singing.

I am indebted to Laurent Dalmasso for contributing three wonderful tracks from the early years of mbaqanga, taken from 78 rpms – “Andikathale” by the Joy Sisters, “Lamalobalemabane” by the Soweto Stars and “Moratuoa” by the Slick Sisters. Another thanks to our own Chris Albertyn for contributing two fantastic numbers – “Lepae Laka” by The Queens and “Jabulani Balaleli” by Amaqawe Omculo.

I hope you’ll enjoy Classic Mbaqanga Girl Groups – Vol. 3. Download the music, take in the sublime melodies, and do help us to spread the fact - the fact that old school South African female harmony was just as kickass as anything these hip-hop youngsters throw at us today.

Give it up one more time for the girls! YEBO!

CLASSIC MBAQANGA GIRL GROUPS – VOL. 3

1. SILIHAMBILE ILIZWE – UMTHUNZI NEZINTOMBI ZESIMANJEMANJE (1972)

2. AMAZING GRACE (SIMAKADE) – MAHOTELLA QUEENS (1972)

3. WE BABA ZALA – MAHLOKOHLOKO STARS (1966)

4. ANDIKATHALE – JOY SISTERS (1962)

5. NGIBUZINDLELA – SOWETO STARS (1968)

6. MALOME OREKILE SEPANE – S’MODERN GIRLS (1971)

7. UHLATHANA – MAHOTELLA QUEENS (1970)

8. SHELA WETHU – IZINTOMBI ZESI MANJE MANJE (1967)

9. UMNUMZANE – MTHUNZINI GIRLS (1968)

10. LAMALOBALEMABANE – SOWETO STARS (1965)

11. BEKEZELA – MELLOTONE SISTERS (1976)

12. ASAMBENI – MTHEMBU QUEENS (1977)

13. HA KE TSEBE – IZINTOMBI ZOMGQASHIYO (1984)

14. DITABA TSA HAO – THE MATTERS (1980)

15. MALUME – MAHOTELLA QUEENS (1982)

16. MENATE YA LEFATSHE – THE MATTERS (1980)

17. JULIETA – MTHEMBU QUEENS (1977)

18. IQHUDE – DYNAMIC SISTERS (1966)

19. SEKULU KHUNI – THE QUEENS (1976)

20. JABULANI BALALELI – AMAQAWE OMCULO (1972)

21. UYADELELA – MTHUNZINI GIRLS (1972)

22. MORATUOA – THE SLICK SISTERS (1962)

23. SEKUYASA – MAHLABATHINI (1975)

24. LEPAE LAKA – THE QUEENS (1975)

25. AMAZWE NGAMAZWE – MTHEMBU QUEENS (1977)

RS / MF

A missing piece of the puzzle from Isigqi Sesimanjemanje (1992)

(L to r: Jane Dlamini, Joana Thango, Janet Dlamini)

Ethnomusicologist Louise Meintjes undertook a fieldwork of sorts when she listened in on the rehearsals, attended the recording sessions and interviewed at length the members of the all-female mbaqanga group Isigqi Sesimanjemanje in the early 1990s. The relationship between those who were hoping to share their talents and reap the rewards from a potential overseas audience and those who had the power to make or break the act is a formidable one, particularly during that particular time period in South Africa. The other major factor was the presence of white engineers in the production of what was regularly termed "black music", or more coarsely, "black stuff". It is these relationships that Meintjes explored in her 2003 book Sound of Africa!: Making Music Zulu in a South African Studio when recounting Isigqi's preparation for their next album release Lomculo Unzima (This music is heavy).

Izintombi Zesi Manje Manje in 1976

(Clockwise from left: Lindiwe Mthembu, Jane Dlamini, Nobesuthu Shawe, Ruth Mafuxwana)

Isigqi Sesimanjemanje was formed in the late 1980s. Regular Electric Jive readers will be aware that this group was born out of one of the country's most popular mbaqanga girl groups, Izintombi Zesi Manje Manje (The modern girls), who - along with the Mahotella Queens - found it hard-going to sustain their sound and popularity with the onslaught of disco and (later on) bubblegum music in the early-to-mid 1980s. Izintombi succumbed and disbanded in 1985. The central figure of the group, vocalist Jane Dlamini, took the decision to regroup with three of its former members around 1988, having witnessed the growth of the international love for South African music following releases such as Duck Rock (1983), The Indestructible Beat of Soweto (1985) and Graceland (1987). A major factor in the formation of the newly named Isigqi Sesimanjemanje (The modern sound) was the success of the Mahotella Queens, the group that Izintombi was pitted against in the battle for supremacy during the "afro" era of the 1970s. Sensing that he could give them the success that they desired, Dlamini eventually managed to convince prolific producer West Nkosi to take Isigqi under his wing. It meant a split from Hamilton Nzimande, the producer who had formed the group over twenty years prior, but Nkosi had managed to send Mahlathini and the Mahotella Queens crisscrossing across the globe to much acclaim and success - and could very easily do the same for Isigqi. When it came to the studio, Nkosi promptly began rearranging their sound to fit with "modern times". That included cutting a trademark of their sound from the track "South Africa" - the 1970s Korg organ sound, replacing it with synthesised marimba - as well as revising their material to fit the wedding song genre.



















Louise Meintjes' Sound of Africa! documents the making of Isigqi's 1992 album by placing it within the context of South Africa's political history and the lineage of mbaqanga music itself. The only major flaw with the book is not the text - it is the fact that a copy of Lomculo Unzima was not included with the finished work. Long out of print, this album is presented to you by Electric Jive in the hope of plugging something of a gap that has remained unfilled heretofore. Although the material here does stray quite a bit from EJ's usual focus, we are sharing this recording not only to assist the ongoing internet documentation of all South African musics, but to bring added colour to the words of Meintjes' book - and to bring the voices of Jane Dlamini, Joana Thango and Janet Dlamini... and every musician associated with them... to life.

Enjoy!

LOMCULO UNZIMA (Isigqi Sesimanjemanje)
Africa AFRLP 029
1992

1. LOMCULO UNZIMA
2. UKUHLUPHEKA KWAMI
3. SOUTH AFRICA
4. WE-BAFANA
5. UMSHADO KA THEMBA
6. HAMBA KAHLE
7. UMAKOTI ONJANI
8. SIYAYISHAY' INGOMA

RS / MF

Classic Mbaqanga Girl Groups! - A Special EJ Mix

Continuing the mbaqanga theme (if you haven't already, see Chris Albertyn’s excellent post featuring, among others, West Nkosi, Reggie Msomi, the Mthunzini Girls, and a jive-tastic Nick Moyake), Electric Jive today presents another "EJ mix" of classic mbaqanga material – featuring tunes from some of the great female mbaqanga groups of the 1960s and the 1970s.

In the mix, we spotlight some well-known groups and vocalists. Here are a few insights into the artists that form the basis of today’s special posting.

Top of the list here at EJ is undoubtedly the Mahotella Queens (who also recorded as Soweto Stars, Izintombi Zo Mgqashiyo, Mahlokohloko Stars, Sweet Home Dames, and Dima Sisters), whose signature vocal and dance styles put them on the road to stardom during the mid-to-late 1960s. Backed by the Makhona Tsohle Band and fronted most of the time by their king, Simon “Mahlathini” Nkabinde, the Queens ruled supreme from 1964 until the late 1970s, when female groups – along with the popularity of mbaqanga generally – began to wane. More than thirty female singers have at one time constituted the line-up of the Mahotella Queens, though their stage appearances have never featured more than six ladies at a time. The more notable members over the years have included sopranos Hilda Tloubatla, Nunu Maseko, Emily Zwane and Thandi Nkosi, altos Juliet Mazamisa, Nobesuthu Shawe and Windy Sibeko, and tenors Mildred Mangxola and Caroline Kapentar among many others. The current line-up of the Queens contains three of the original 1960s team, and they continue to draw big audiences (particularly in Europe) to this day. See here for a much fuller history of the Queens, get the first Queens LP here, and see here for a special EJ mix devoted to Mahlathini.

Of equally significant importance is Izintombi Zesi Manje Manje, who were formed in 1967 as a rival team to the Queens. By the time Izintombi was formed, the Queens had set in stone their unique styling and were the yardstick by which other female mbaqanga groups were measured. But with a line-up that included – at various points – Sannah Mnguni, Nunu Maseko, Thoko Khumalo, Jane Dlamini, Nobesuthu Shawe and Lindiwe Mthembu – it wasn’t easy for the Mahotella Queens of the 1970s to keep up with Izintombi! The classic live line-up of the early 1970s was the trio of Jane Dlamini, Lindiwe Mthembu and Nobesuthu Shawe (stood on the stage in that order), but the recording line-up also featured Ruth Mafuxwana and Hilda Tloubatla in prominent voice. Izintombi Zesi Manje Manje members also recorded under the name S’Modern Girls. Along with the Mahotella Queens, Izintombi found it hard going to sustain their popularity into the 1980s, even with a revised sound. Two mushroomings of the original group still exist to this day but only on very small, local scales. Here is a collection of some of Izintombi’s best 1960s material, and here is a share of one of their late 1970s albums.

Julia Yende’s strong vocal talent rose her to the top. She started first with the Dark City Sisters in the early 1960s, and then in the Mahotella Queens from 1966. Her talent earned her the love of king Mahlathini and then, following a brief spell in the Queens recording and touring line-ups, a group of her own: the Mthunzini Girls (previously one of the loose pseudonyms used for the Queens).

Mthunzini Girls usually comprised Yende alongside Windy Sibeko, Thoko Mdlalose, Virginia Teffo and Teddy Nkutha in their 1960s heyday, but by the early 1970s, opened up to include Olive Masinga, Phyllis Zwane and Irene Mawela. Some of the more junior Mthunzini Girls members also recorded under the name Izingane Zo Mgqashiyo. Another notable group who also recorded under the Izingane Zo Mgqashiyo name is Izintombi Zomoya, featuring (most notably) Thandi Nkosi, Caroline Kapentar, Beatrice Ngcobo, Constance Ngema and Eunice Kwekwe – some of whom became talented enough to rise through the ranks and join the Mahotella Queens frontline in the late 1970s and early 1980s. See here for an excellent 1973 Izintombi Zomoya album.

By all means a first-rate act, the one and only Dark City Sisters were a vital part of the mbaqanga girl group scene of the 1960s. Formed in 1958 and quickly becoming South Africa’s most popular female group of the early ‘60s, the Sisters were at the forefront of the shift from the old marabi swing rhythms to the harder, sturdier and yet more traditional jive sound of the 1960s. At the helm of the group in spite of an ever-changing line-up was the sweet-voiced Joyce Mogatusi. Various groupings of the Sisters also recorded as the Killingstone Stars and the Flying Jazz Queens. Some of the most significant voices to grace the Sisters throughout the years aside from the great Mogatusi include Nunu Maseko, Esther Khoza, Grace Msika, Audrey Zwane, Doris Ntuli and Emily Zwane. After the formation of the Mahotella Queens and subsequent growth of Izintombi Zesi Manje Manje, the Sisters were forced to update their soft styling to the new, tough mbaqanga. The Sisters remained popular and active, but in the shadow of these new, younger groups. After a brief split in 1971, the group returned with Joyce at the helm in 1973.

The Sisters continued to record and perform until the early 1980s when they again split up. They were back again by the end of the decade, though, and recorded a comeback album in 1994 (which we hope to share with EJ readers sometime soon). The Sisters are still around in one form or another today, featuring the magic duo of Joyce Mogatusi and Grace Moeketsi (formerly Msika) – both of them still golden voices in their golden years. Here is a classic album of their very early (1960 – 1962) material.

Irene Mawela was seventeen years of age when Rupert Bopape saw her singing at a wedding in Limpopo. Impressed with her sweet, saccharine vocals, Bopape quickly brought her to Johannesburg (one assumes with Irene’s parents’ permission!) and so she began a lengthy career as a studio singer: first with Bopape at EMI (and in such legendary line-ups as the Dark City Sisters and the Killingstone Stars), then with Cuthbert Matumba at Troubadour, then under Daniel Makhubela at Trutone, and finally back with Bopape at Gallo’s Mavuthela in 1969. At the company she began recording with a small session quintet under the names Irene and the Sweet Melodians, and the Mgababa Queens. She also recorded her instantly recognisable voice onto hits by the Mthunzini Girls and Izintombi Zomoya, the lower-tier girl group line-ups. Bopape and Mawela grew close and, by the mid-1970s, were man and wife. Further into the 1970s, Bopape and Mawela began working together more closely in the studio – writing together and later on singing together. Mawela graduated up into the line-up of the Mahotella Queens around 1978, where she stayed for a few years before launching her own solo career.

Lastly, The Queens (not the Mahotella Queens!) were the tight band of female singers who backed Mahlathini at Satbel Record Company (from 1972 to 1977) and EMI (1978 to c. 1980). When Mahlathini left Gallo-Mavuthela in 1972, some of the Mahotella members followed him, creating the newly-formed The Queens. Most notably Mildred Mangxola (the leader of The Queens), Jane Makhanya, Nunu Maseko and Thoko Nontsontwa. The other singers included Paulina Zulu, Jane Twala, Belinda Sithole and Agnes Mhlauli. Although they primarily served as Mahlathini’s backing group, they sometimes recorded their own fantastic songs – two of the best are contained here.

The thirty wonderful tunes in this EJ mix were originally recorded between 1962 and 1977, at the height of mbaqanga's rule over the townships of South Africa. Tough guitar, pounding bass, growling basses, and sublime female close-harmony vocals. What more could one ask for?

Do yourself a favour... download this mix, listen to these fantastic grooves, and get ready to jive 'til you drop! YEBO!

Classic Mbaqanga Girl Groups!

1. THOKO - MAHOTELLA QUEENS (1964)

2. LALELA MNTANAMI - KILLINGSTONE STARS (1962)

3. UMKHWEKAZI - DARK CITY SISTERS (1962)

4. HAMBA PHEPHA LAMI - IZINTOMBI ZO MGQASHIYO (1967)

5. KHANYISANI ISIBANI - IZINTOMBI ZOMOYA (1973)

6. UMKHUMBI KA NOAH - IZINGANE ZO MGQASHIYO (1969)

7. ISINKWA NOBANANA - IZINTOMBI ZESI MANJE MANJE (1967)

8. SILANDELA UMGQASHIYO - MTHUNZINI GIRLS (1967)

9. MAKOMANE - DIMA SISTERS (1964)

10. WOZA MABALANE - MAHLOKOHLOKO STARS (1967)

11. UMAHLALA EHLATHINI - IZINTOMBI ZESI MANJE MANJE (1971)

12. HOLE THABA - DARK CITY SISTERS (1966)

13. EVELYN - KILLINGSTONE STARS (1962)

14. SPONONO - DARK CITY SISTERS (1967)

15. MMATHOBELA - MAHOTELLA QUEENS (1977)

16. IGAMA LAMI - IZINTOMBI ZOMOYA (1975)

17. REKENI KASE JUALEJUALE - S'MODERN GIRLS (1974)

18. MMADITABA - IRENE & THE SWEET MELODIANS (1975)

19. ISITIMELA - THE QUEENS (1976)

20. LETLAPA LABUTSOA - DARK CITY SISTERS (1974)

21. THAKA TSESO - IZINTOMBI ZOMOYA (1971)

22. DUMAZILE - SWEET HOME DAMES (1968)

23. ISALUKWAZI - IZINTOMBI ZESI MANJE MANJE (1967)

24. MMAMOKWANGTITI - DARK CITY SISTERS (1967)

25. AMAZONDO - MTHUNZINI GIRLS (1967)

26. NTSHWARELE NTATE - MAHOTELLA QUEENS (1975)

27. ZOLILE - THE QUEENS (1975)

28. AWUFUNI UKULANDELA NA? - S'MODERN GIRLS (1974)

29. EZOMCULO - DARK CITY SISTERS (1974)

30. SESHEGONG SAMELODI - DIMA SISTERS (1967)

RS / MF