For the last six years I have been working on a project documenting the work of Miriam Makeba. After reading the liner notes of her highly political 1965 LP
, it dawned on me that these mass-produced commodities, issued all over the world, were a perfect and significant vehicle for spreading an anti-apartheid message. I set a goal to accumulate as many examples as I could of those messages and in the process discovered some amazing music.
Over her prolific career, from 1954 up to her death in 2008, Makeba issued no less than 29 individual albums along with countless 78s, 45s and EPs, pressed in at least 33 countries. In addition, over 28 compilations of her works have been and continue to be issued on compact disc.
1) Rockin’ in Rhythm (1958)
Something New from Africa LP
(Decca, LK 4229, UK)
Avid collectors of South African music will be familiar with this track, featuring a wordless interpretation by Makeba of the Ellington tune with Lemmy Special Mabaso on flute and Jimmy Pratt on piano. I have only ever seen this record as a UK pressing, but the ABC matrix leads me to wonder if there might be an equivalent South African pressing. No doubt, all the tracks on this LP were probably issued as 78 rpms by Gallo Records. For what it is worth, this track is probably the first “vinyl” recording to feature Makeba.
2) Hamba Bekile (c1958)
New Sounds of Africa Vol. 2, EP (c1963)
(Gallo, New Sound, ESL 7141, SA)
When I first saw this EP, I assumed it was a promotional complement to Gallo’s two fantastic compilation LPs
New Sounds of Africa volumes 1 (
NSL 1001) and 2 (
NSL 1002), first issued on the New Sound label in 1960. (The former LP also being issued on the Fiesta label in the USA.) Though two of the tracks from the EP are on the second LP, the remaining two are not, including this track,
Hamba Bekile, featuring Makeba with the Skylarks and Spokes Mashiyane on flute. Oddly the track is also not included on Rob Allingham and Albert Ralulimi’s two fantastic CD compilations of Skylark’s material:
Miriam Makeba and the Skylarks (1956 – 1959) Vol. 1 (CDGSP 3130) and 2 (CDGSP 3131). (Be sure to get the 2008 CD reissues, each boasting five additional tracks and superior sound quality.) The cover of the EP shows an image of Makeba taken from her 1960 debut album on RCA Records in the US, but the matrix number on the EP (ABC 23850) reveals that it was probably issued around 1963. Again this track would have originally been issued as a 78 rpm in South Africa.
3) Umqokozo (live, c1964)
4) Love Tastes like Strawberries (live, c1964)
Midnight Hoot, LP (1964)
(Kapp, KL 1357, USA; London, HA-R 8178, UK)
Both these tracks appear to be live recordings from a folk concert that included Alan Lomax, amongst others, and was issued as the
Midnight Hoot on Kapp records. The studio versions of the two songs also appear on Makeba’s second LP
The Many Voices of Miriam Makeba released by Kapp Records in 1962. I have tried to find a recording date for this concert but cannot—I suspect somewhere around late 1963 or early 1964. It is possible that Kapp re-constructed the LP as a live recording… the deliveries here sound almost too tight to be live!
It is not clear to me why Makeba, after recording her first LP with RCA in 1960 then recorded her second LP with Kapp Records and then returned to RCA for her next five LPs. My only guess is it had something to do with that fact that Gallo demanded that RCA pay a whopping $75 000 to buy Makeba out of her ‘royalty–free’ [my sarcasm] contract with Gallo in 1960. Lawyers finally agreed on a $45 000 buy-out where Gallo also retained the rights to publish that first US recording made by RCA. Subsequently all international pressings of her first album state “Recorded for Gallo” except for the US pressings. Both her first and second LPs were issued in South Africa on Gallo’s London (ZA 6037) and Continental (ZA 6135) labels respectively. Because of the deal, Makeba never saw any royalties from her first album—all proceeds going to pay back RCA for the buy-out from Gallo.
5) Into Yam (June 21, 1963)
6) Little Boy (July 1, 1963)
Forbidden Games, French EP
(RCA Victor, 86 406 M, FRA)
Into Yam is one of the songs that Makeba sings in Lionel Rogosin’s clandestine, 1959 film
Come Back Africa about township life in South Africa. The film premiered at the 1959 Venice Film Festival and it was Rogosin who bribed South African officials to let Makeba come to Italy for the presentation. She would not return to South Africa for the next 30 years. Rogosin along with Harry Belafonte financed Makeba’s travels to the US and arranged for her to appear on the Steve Allen show in November 1959. The first song she sang on live television in the United States was
Into Yam.
The version of
Into Yam on this compilation as well as
Little Boy, both featuring arrangements by Hugh Masekela, can be heard on her third LP
The World of Miriam Makeba issued by RCA in 1963. Remarkably, neither track has been featured on any of Makeba’s many “best of” compilation CDs. Makeba does sing an updated version of the song on her 2006 album
Forever and there, unlike the earlier versions, the composition credits go to Dorothy Masuka.
The Many Voices of Miriam Makeba LP has been reissued on CD, but as a budget, two-for-the-price-of-one CD (along with her debut album) and without the original cover art.
7) Qhude (October 30, 1963)
8) Come To Glory (1963)
Chants d'Afrique No. 2, French LP (April 1964)
(RCA Victor, 435 018, FRA)
I am absolutely floored that
Qhude has not been featured on more Makeba “best of” compilations. Moreover it is unbelievable that her fourth album,
The Voice of Africa, while being reissued on vinyl a number of times, has never been available on CD. The only CD compilation to feature
Qhude is a well-researched 1991 US issue titled
Africa (now out of print.) This CD is also one of the few to include a number of other fabulous tracks from five of her first six albums including the amazing
Dubula and
Kwedini.
Come to Glory also on
The Voice of Africa is a West Indian gospel chant and is one of my favorites.
9) Khawuyani-Khanyange (August 18, 1964)
10) Khuluma (August 18, 1964)
Miriam Makeba, French EP
(RCA Victor, 86 447 M, FRA)
Makeba’s fifth album
Miriam Sings! has seldom, if at all, been reissued on vinyl and never on CD, though it boasts some great tracks including her alternative version of
Kilimanjaro.
Khawuyani-Khanyange, arranged by Masekela, is a combination of two songs by Makeba and Dorothy Masuka respectively and features Betty Mtombeni, Mamsie Gwangwa, Edith Grootboom, Ernst Mohlomi, Caiphus Semenya and Paul Makgoba on vocals.
Khuluma as the liner notes reveal is “another Mbaqanga from the townships, written by Betty Khoza, a singer from Durban living in Johannesburg” and also features Morris Goldberg on alto sax. (Check out more
Betty Khoza and
Morris Goldberg here.) In desperation to find clean copies of these two tracks, I broke down and opened a sealed copy I had found on eBay. All was not as it appeared and it turned out to be used… lesson here… be skeptical!
11) Oxgam (original studio version) (1966)
Canta en Espanol, Spanish 45
(RCA Victor, 3-10308, SPA)
Another shocking omission from many Makeba compilations is the original studio version of
Oxgam (sometimes referred to as
Click Song No.2); the preferred variation being the haunting, almost a cappella
Baxabene Oxamu on the 1988
Sangoma album (one of her all time best LPs.) This Letta Mbulu track was first issued on Makeba’s 1966 LP,
The Magic of Makeba and live versions are featured on
In Concert! and the recently issued
Live At Bern’s Salonger. The original album has also been reissued as part of a box set of seven of her LPs.
Oxgam is a type of tongue twister meant to teach children how to pronounce clicks. Check out the funky organ stabs towards the end of the song!
12) Khawuleza (Russian booklet version)
(originally recorded April 1965; Russian version, 1970)
Kpyro3op (Krugozor Magazine with six flexi-discs)
(Issue 6, 1970, USSR)
Khawuleza (or
Hurry, Mama, Hurry!) comes from the album
An Evening with Harry Belafonte and Miriam Makeba, issued on RCA Victor in 1965 and is widely available on CD. The album itself is significant in that Makeba won a Grammy for it and it is one of her most politically overt. This is an important album for me personally in that it is the very one that generated the entire Makeba research project when I found a copy in a thrift store in the United States and was struck by the very political nature of the liner notes. The album includes Vuyisile Mini’s classic protest song
Ndodemnyama or
Beware Verwoerd.
Khawuleza speaks of police raids in the townships and written and originally recorded by Dorothy Masuka in the 1950s. Like many of Makeba’s post-1963 UN address records, the album was banned in South Africa. Three tracks from that album can be found on a very unique Russian audio booklet and this is where the version of
Khawuleza comes from. Although all three songs are identical to the LP versions, they are unique in a remarkable way: It appears that the editors of the magazine have overlayed voice commentary or perhaps a translation in Russian over Makeba’s introduction to the song! The booklet itself consists of a number of other tracks by other artists and each song is ring bound as a floppy flexi-disc in the book with extensive text in Russian. To play a song, one must simply go to the page of choice, fold the book completely open and place the entire object on the record player.
The Soviet Union was sympathetic to anti-apartheid causes and supported the ANC in exile with training and shelter. A number of historic ANC albums were recorded and issued in the USSR including the
Amandla group with Jonas Gwangwa. Gwangwa also played a prominent role in conducting and arrangements on this album. Makeba herself had a number of albums issued in the Eastern block during the 1970s, after she became “self-exiled” from the US. The 1974 album
A Promise was issued on the East German label Amiga and a compilation album
Miriam Makeba was issued in Czechoslovakia on the Supraphon/Reprise label in 1974.
13) Charlie (Oh Mama) (c1966)
La Merveilleuse Miriam Makeba, French LP
(Mercury, 124 016 MDL, FRA)
An interesting earlier version of
Milélé with English lyrics on Makeba’s first Mercury release,
The Magnificent Miriam Makeba. The later version was included on the album
Myriam Makeba & Bongi, issued on Syliphon Conakry in 1975.
14) Chomba Cha Ajaba (1968)
Le Bateau Miracle, French EP
(Campagne Mondiale Contre La Faim, FAO 01, Part 62.723, FRA)
Chomba Cha Ajaba is a Makeba adaption of French singer Gilbert Bécaud’s
Le Bateau Miracle or
The Miracle Boat. The EP, sponsored by the Food and Agricultural Organization of the United Nations (FAO) was issued in 1968 for their worldwide campaign against hunger. The EP was pressed in at least three countries: in France as
Le Bateau Miracle, and in Ecuador and Mexico as
El Barco Del Amor.
15) Malayisha (original studio version, 1967)
Golden Miriam Makeba, Japanese LP (c1968)
(Reprise, SWG 7113, JAP)
This Manhattan Brothers track has a huge hit for Makeba in 1967. Remarkably it was not issued on the
Pata Pata album (from about the same time) and existed as a single only. The only two LPs that feature the original studio version are the Japanese compilation
Golden Miriam Makeba and the Italian version of
Pata Pata. Also the song can be found as an added bonus track on the US CD reissue of
Pata Pata.
16) A Piece of Ground (live, August 28, 1968)
Miriam Makeba in Tokyo, Japanese LP (1968)
(Reprise, SJET 8082, JAP)
This track by Jeremy Taylor comes from one of Makeba’s rarest records, a Japan-only live recording made in Tokyo. (View it here at
Electric Jive.)
17) The Ballad of Sad Young Men (demo, c1967)
18) Untitled (demo, c1967)
(Steel demo disc, Nola Penthouse Sound Studio, USA)
These two tracks are probably the rarest in the current selection. Both come from a steel demo disc featuring seven tracks, six of which would eventually appear on Makeba’s 1967 Mercury album
All About Miriam. Of those tracks three would be further re-mixed on the famous
Pata Pata album issued by Reprise in 1967. The tracks here are quite stripped down and my guess is they were used as reference for the future LPs. Their is a suggestion in the eBay auction that the disc may have come from the estate of Luchi DeJesus, the arranger of many of the tracks on
All About Miriam and
Pata Pata, but that is hard to verify. In all cases the final recordings are quite different from these demos but none are as distinct as
The Ballad of Sad Young Men where the earlier version is quite somber compared with its upbeat final mix. This track is also most famous for being the b-side to the
Pata Pata single. The
Untitled demo track seems very familiar to me, but I can’t seem to identify it. Let us know if you recognize the tune.
19) Ibabalazie (original studio version, c1967)
20) Emavungwini (Down in the Dumps) (c1968)
Miriam Makeba, Italian LP (issued 1968)
(Reprise, RI 5119, ITA)
Ibablazie is another Letta Mbulu song that quite frankly addresses that morning after phenomenon known as a “hangover.” Remarkably this funky original studio version never made the cut on any of Makeba’s official albums—generally the live version is featured. Also note the English lyrics in this version.
Emavungwini, a tune by Douglas Xaba, is featured on what I think is Makeba’s best album simply titled
Makeba! Both these tracks were great hits and were usually issued together as a single 45 rpm, one notable exception is the Italian version of the
Pata Pata LP which includes both as additional tracks. While
Emavingwini has been available through the CD reissue of the album
Makeba!, neither of these tracks have been featured on any of her “best of” compilations.
21) You Suffer Too (1971)
La Guinee Guine, 45
(Editions Syliphone Conakry, SYL 536, FRA)
The bluesy
You Suffer Too is the b-side of
La Guinee Guine and comes from a series of 11 rare singles issued on the Syliphon Conakry label in the early 1970s, a period that spanned Makeba’s so-called “Guinea Years”— and which is also the title of a fabulous CD compilation of many of her songs from this period. The track unfortunately does not appear on the compilation. Perhaps its blues inflection did not meet the more African feel of the CD… but this track is one of my favorites.
22) Mansane Cissé (1973)
Africa, 45
(Editions Syliphone Conakry, SYL 551, FRA)
Mansane Cissé is the b-side to
Africa, also on the Syliphone Conakry label. This traditional Senegalese tune is performed by what appears to be Makeba’s backing group, but ironically the instrumental does not include her voice. I however could not resist including it.
23) Les Trois Z (c1975)
24) I’mm You’mm We’mm (c1975)
(Disques Esperance, ESP 155027, FRA, 1978)
Les Trois Z is a political song from Zaire (now Congo) by Gérard Madiata. The term "Les Trois Z" referred to the “Authenticité” or authenticity campaign of Mobutu Sese Seko in the Democratic Republic of Congo during the late 1960s and early 70s, to “rid the country of the lingering vestiges of colonialism and the continuing influence of Western culture and to create a more centralized and singular national identity.” The campaign included renaming the country, the Congo River and the currency—“Zaire” and referred to them as
Les Trois Z — Notre Pays, Notre Fleuve, Notre Monnaie (The Three Zs — Our Country, Our river, Our Money). Makeba’s version of the song was a significant influence on a young Angelique Kidjo who found early success with an adaption of it.
I’mm You’mm We’mm is the apparent b-side to
Les Trois Z on this 1975 Disques Esperance single and, to my knowledge neither appeared on any of Makeba’s vinyl albums. Oddly, a pressing error reveals the b-side on this single to be
Talking and Dialoging another less common track.
I’mm You’mm We’mm does appear to be a studio recording and can be found on the German CD re-issue titled
Live in Conakry but the track does not occur on the original 1970 LP
Appel a L’Afrique.
25) Kwanong Zongo (Nongqongqo) (live, November 19, 1997)
Les Voix De La Paix, EP CD (1998)
(International Yehudi Menhuin Foundation, Q 885, FRA)
This is a live version of
Nongqongqo, recorded in Brussels, comes from a concert
Voices For Peace organized by the International Yehudi Menuhin Foundation. The original version is featured on the classic album,
An Evening with Harry Belafonte and Miriam Makeba, issued in 1965 and mentioned above. The song speaks about South African leaders—Sobukwe, Luthuli and Mandela—and their role in the struggle against apartheid.
At this point I should add the two tracks Makeba recorded for Toyota in 1980, but as those have already been featured on
Electric Jive, perhaps I should end it here! Enjoy!
