The Queens (1977)

We continue the girl group theme here on Electric Jive with a 1977 album from The Queens, the female troupe that backed the legendary Mahlathini during his time away from the Mahotella Queens.

The music of Mahlathini, the Mahotella Queens and the Makgona Tsohle Band dominated the townships during the 1960s and early 1970s. Under music exec Rupert Bopape’s vigilant direction, the Queens, the triumvirate recorded a massive amount of highly successful singles and performed in hundreds of halls and stadiums across South Africa and neighbouring countries including Botswana, Zimbabwe, Lesotho, Malawi and Swaziland.

But exploitation was rife within the music industry. In the early ‘70s, Mahlathini and several of the Mahotella Queens resigned after disputes with Bopape over show takings. (Bopape, with assistance from Makgona Tsohle Band members Marks Mankwane and West Nkosi, replaced the missing Queens with newer singers and had Robert ‘Mbazo’ Mkhize installed as their new groaner.) After one or two similarly unfavourable (and very brief) recording deals, the girls and Mahlathini formed a performance-only group, Amakhosazana (the princesses). This group was hugely successful for nearly two years until aspiring promoter Piet Ntuli charmed his way into the group, subsequently pocketing all the wages and creating in-fights. The singers left Ntuli in 1974 and joined Satbel Record Company under producer Cambridge ‘Baba’ Matiwane. Backed by the wonderful strains of Ndlondlo Bashise, Mahlathini and The Queens (the new name referencing their time within Mahotella) recorded a series of beautifully fierce, tough, gritty singles.

In 1977, Satbel underwent a reorganisation and Mahlathini and The Queens ended up once again without a studio to record in. Their only option at the time was to join EMI, under the production of none other than the corrupt Piet Ntuli. They gave him a second chance and simply carried on recording the wonderful hard-edged jive that they had created at Satbel. The result was two albums, both released on EMI’s Yashingoma label: Wavutha Umlilo, spotlighting King Mahlathini in all his glory; and the aptly-titled The Queens which we share with Electric Jive readers today.

Some songs, such as “Izinyoni”, “Ikhubalo”, “Keba Bone” and “Umakhelwane” are brilliant examples of unadulterated jive, while the growing influence of American soul on mbaqanga music can be detected in groovy numbers like “Ndiphilise Nkosi Yami”, “Bakgotsi Baka” and “Ndiphuthe Somandla”. All 12 songs are enjoyable and it's hard not to be moved by the passionate harmonies of The Queens - Mildred Mangxola (lead vocalist - tracks 2, 4, 7, 8 and 10), Isabel Maseko, Agnes Mhlauli, Thoko Nontsontwa, Belinda Sithole and Paulina Zulu

Enjoy!

THE QUEENS

THE QUEENS

produced by Piet Ntuli

Yashingoma YGA (E) 301

1977

Zulu Vocal Jive

Sotho Vocal

Xhosa Hymn

MF

Bra Sello - Butterfly (1975)

It has been a while since we enjoyed some soul-filled looping bump-jive. This long-player has one 28"30' long rich and variously embellished track that stretches across both sides - swirling keyboards, Bra Sello's saxophone and flute, lead guitar, vocals, and walking bass-lines that meander mbaqanga-like around drums and rhythm guitar.

Produced by Cambridge Matiwane and recorded in 1975 on the Soweto label, this album is Selby "Sello" Mmutung's take on the soul-bump-jive genre just before it veered more towards disco. Bra Sello already features on Electric Jive in Siemon Allen's popular Disco Soul Jive compilation here; and Nick Lotay's posting of Mahlatini's 1978 mbaqanga offering, Kudala Besibiza here. Bra Sello also features on the highly popular Pull-Up compilation of 78rpm recordings, shared here.

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Mahlathini - Kudala Besibiza (1978)

Electric Jive presents an album containing some of the best 1970s material recorded by Simon 'Mahlathini' Nkabinde, perhaps the greatest male mbaqanga vocalist. I could not resist sharing this LP with you - some of my favourite songs are included on this album, which features Mahlathini in brilliant voice at the height of his career.

The "groaning" vocal style that became Mahlathini's most recognisable musical feature was originated not by him, but by Aaron Lerole, a member of the pennywhistle group that Nkabinde's older brother Zeph co-formed, Alexandra Black Mambazo. Lerole, who developed this vocal style to attract people on the streets where the group performed, was not a natural bass singer and ended up ruining his voice permanently. Zeph took over the reigns by the later 1950s when the group began introducing five-part harmonies into their performances. Mambazo was by now under contract to EMI under the auspices of producer Rupert Bopape. Simon, who was growing up to be a fine singer with a unique "gruffness" and baritone quality, was convinced by Zeph to join the group at EMI. So began a colourful and productive career.

At EMI, Simon featured prominently on lead vocals in Black Mambazo recordings, and often fronted the legendary recordings from EMI's girl group team, who recorded under names like the Dark City Sisters, the Flying Jazz Queens and the Killingstone Stars. Simon, informally known as Mahlathini, was also recording solo hits of his own as "Boston Tar Baby". Gallo Africa poached Bopape early in 1964, and he brought a selection of musicians - including Simon - over to the new Mavuthela division. With the new house band - the Makgona Tsohle Band - providing the all-important instrumental backup, alongside the Mavuthela girl group team - most well-known as the Mahotella Queens - providing the essential vocals, Simon completed the triumvirate as Mahlathini. Mahlathini and the Mahotella Queens enjoyed a very successful recording and touring period in South Africa and neighbouring countries until 1972, when Mahlathini fell out with Bopape over royalties.

Mahotella continued as normal, filling the gap with groaner Robert 'Mbazo' Mkhize, when Mahlathini decided to leave Gallo. However, his popularity perhaps hit an all-time high when he joined Satbel under producer C. B. Matiwane (and later under the production of Wilson Ndlovu). At Satbel, Mahlathini was backed by The Queens, a new girl group that held a very familiar name to his last one. Several of the original Mahotella members, including Mildred Mangxola, made the move to Satbel to become key singers and composers in The Queens. The creative was also bolstered by the presence of musicians from both Gallo-Mavuthela and GRC-Isibaya Music, such as Selby 'Bra Sello' Mmutung, who provided alto sax and additional male vocals in addition. Mahlathini was also joined by Lazarus 'Boy Nze' Magatole, a wonderful groaner in his own right.

Mahlathini's 1970s career at Satbel was decorated with a solid and consistent sound. The fierce, raw energy of this selection of musicians came across in every song that they produced. Such powerful recordings like "Bhula Mngoma", "Umkhovu" and "Abake Ba Bonana" are classic Mahlathini. The Queens, meanwhile, could also hold their own without the King - "Isitimela", for example, combines  only their beautiful voices with the combined prowess of Raphael Ngcamphala (lead guitar), Nunu Luphoko (rhythm guitar) and Alfius Madlokovu (bass).

This compilation of material recorded between 1974 and 1977 gives you a taste of Mahlathini's '70s rough-cut mbaqanga at its finest. This music is explored further in the fantastic Earthworks compilations The Lion of Soweto (1987) and King of the Groaners (1993), the first of which led the way in bringing the King's music to a wider international audience. I hope you enjoy Kudala Besibiza!

MAHLATHINI

KUDALA BESIBIZA

produced by C. B. Matiwane/Wilson Ndlovu

Music for Pleasure MFP PP 80200

1978

Zulu Vocal

RS / MF

The Headquarters: "Sweetie" (1977)

Some seriously funky and soulful dance-floor filler noticeably South African music lurks under the very competent disco veneer of this album.  This band is certainly up there with anything Reggie Msomi and Almon Memela were able to produce at the time.

In addition to a strong seven-piece outfit featuring Lemmy ‘Special’ Mabaso on alto sax  and Joe Zikhali (Chapita) on lead guitar, Zane Cronje takes credit for the string arrangements. I cannot find further reference to alto sax player Boikie Piliso, and do not know if he was related to the famous Ntemi and Shadrack Piliso brothers.

When Cambridge Matiwane started his illustrious music career I am certain he could not have foreseen producing a 1977 disco date, heavy breathing included.  

 Joe Zikhali wrote “Sweetie”, the most ‘disco’ of the tracks, replete with the rhythmic moans and grunts that seemed popular to this genre at the time. From there it is three tracks of upbeat funky guitar and horns, with occasional strings holding onto that disco dance-floor and mirror-ball feel.  

The two tracks on side two are penned by keyboard player Dimpy Tshabalala, who in 1987 went on to join the reformed Elite Swingsters. “Moshate” features an eleven-minute fusion, funk and disco workout. “Lazy Bones” is my personal favourite, looping, loping and driving. Enjoy!

If there are enough 70s disco lovers still lurking 'out there', let me know and I will make the effort to dig out some more South African disco from that era.

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