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

Air Light Swingsters: Umhlobo' Mdala (1981)

Band leader and alto saxophonist Peter Mokonotela raises the criticism of bands being inclined to "ape overseas music in preference to our own traditional Afro type music. So, we have tried by all means to take old African tunes and improved on them our way, The African Jazz Sound".

Produced again by the great Hamilton Nzimande this album forefronts fantastic  inter-play among the three saxophonists, Mokonotela, Thami Madi and Shumi Ntuthu. The liner notes continue: "It is hoped that the improvisation on certain Ngoma Busuku (evening or night hymns) singers as played on reed instruments will be appreciated."

Personally, the lullaby "Thula Ulalele" has a deep resonance in the recesses of my childhood memories - mellow, soothing, secure and comforting. At the other end of the spectrum, "Ujujuju" is perhaps my upbeat favourite. All  of the tracks on this slicky produced and performed album have something to offer anyone who appreciates the intersection of Swing, African Jazz, mbaqanga, and early 1980s African pop.

Compared to last week's 1980 posting of the Air Light Swingsters, this 1981 recording comprises 12 shorter tracks spanning nearly 42 minutes - quite a squeeze for an LP. Enjoy.

Download link here

The Air Light Swingsters: Air Light (1980)

Besides the Elite Swingsters I cannot think of another South African band that recorded over a period of five decades. Put together by talent scout Lebenya Matlotlo in 1956 for a session recording, the original band was led by Johannes “Chooks” Tshukudu. Since then “the Swingsters'” were able to attract and groom a succession of highly polished musicians. Dumie Ndlovu, thanks for your request. Another album to follow next week, stay tuned.

Steve Gordon’s music.org.za site has an informative biography of “The Swingsters” and describes their music  as “a blend of African melodies and harmonies with American swing, together with an added dose of New Orleans rhythm and even some rock ‘n roll thrown in for good measure.” Siemon Allen’s Flat International site pieces together further details on their first LP, and also the illustrious roll-call of band members.

Alto saxophonist Peter Makonotela joined the band in 1962 and took on the leadership role through into the 1970s. Writing the liner notes for this 1980 album shared here today, Mokonatela references what must have been a name ownership dispute: “The cats come and go, but their sound goes on and on. Personally, I think this is very important, I believe every good artist or band should and must be identified with its sound. If the sound of the Elite Swingsters can change, then there is no need to call them by that same name”.

Mokonatela was perhaps referring to the departure in the “sound” of a 1980 Elite Swingsters recording “Watch Your Step” with less brass and more key-board influence. He goes on, “If you are accustomed to the history of bands, you will know that there are good and bad times for each band. The Elite Swingsters are no exception. The bad times caught up with us, we closed shop. After an absence of 15 years from the music scene we met Hamilton Nzimande, Director of Isabaya Esikhulu, he re-launched the band.”

Music.org.za adds to the picture: “Eventually, the musical tastes of the townships and particularly that of its youth, changed to the point that the Elites were forced into virtual retirement. During the disco era and still later when Bubblegum supplanted disco, the regular roster dwindled down to the three saxes of Paul Rametsi, Peter Mokonotela and Tami Madi. Violence and political instability precluded playing in the township halls which had formerly provided the bands stomping ground, so live performance opportunities were limited to an occasional wedding or beauty contest. Recording opportunities also dwindled and the resulting albums, none of which were particularly successful, were often issued under various sound-alike names such as the Elite Swing Stars or the Airlight Swingsters.” 

This very polished 1980 album shared today – with a second 1981 recording to come next week – harks back to that sixties swing-influenced African Jazz sound.  The reported lack of success was certainly not due to poor musicianship, but more due to changing tastes of their original target audience. Have a listen to this 1962 recording on the Drum 78rpm label:

The brass section of the Air Light Swingsters is made up of Mokonatela (1^st alto) founding Swingsters alto saxophonist Thami Madi, and Shumi Ntuli on tenor sax. Further reinforcing challenges around identity and ownership, Mokonatela writes: “The cats on the rhythm section, guitar, bass, organ and drums prefer not to be mentioned”. He does say that he met these additional musicians “for the first time working on this album”.

When the “Elite Swingsters” very successfully reconstituted themselves in 1989, the brass section was made up of Albert Rululumi, Mokonotela and Madi – with Dolly Rathebe on voice.

You find other Swingsters recordings here, and here

Produced by Hamilton Nzimande.

Masterpiece LMS 563

Download link here

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

Sax Jive Special - Vol. 3

Following on from Accordion Jive Special – Vol. 1, we present the next in our series of South African jive specials. We’re sticking with the instrumental theme for now, and onto another popular form of dance music during the mbaqanga era. Sax Jive Special – Vol. 3 spotlights 20 more musical gems originally released on 45 rpm singles between 1965 and 1977.

Our opening tune “Hamba Phepha Lami No. 2”, a 1967 recording from the estimable Makgona Tsohle Band, is a remake of a huge vocal jive hit by the Mthunzini Girls. The original recording – featuring Windy Sibeko on lead vocals – was made just a short while before the sax jive reinterpretation, but was already making waves in Durban where broadcaster K.E. Masinga gave the tune regular airplay on the then-Radio Bantu operation. This was not an unusual situation: two other numbers in this compilation, “Tetemuka” (from Abafana Bama Big Bag – or the Big Bag Boys, as they were more commonly known) and “Izulu Liya Duduma No. 2” (another Makgona Tsohle Band masterpiece) had alternate vocal recordings that were hits of their own accord.

Alto saxophonist West Nkosi blows both his trusty horn and a melodica in “Hamba Phepha Lami No. 2”. It appears that there was a fashion for the melodica at the time, as the instrument pops up again in “Theogedi” – an atmospheric 1965 sax jive from Makgolokgolo, in reality a cover name for the same Makgona Tsohle Band – and in the intro to “Tetemuka”, featuring Sipho Bhengu on alto sax duties. Tom Vuma was the lead guitarist for Abafana Bemvunge, the band the backed the Mthunzini Girls who performed “Tetemuka No. 2”. In the early 1970s, Vuma left Mavuthela and moved over to EMI where he began honing a career as a producer, continuing to play his guitar on dozens of vocal and instrumental mbaqanga sessions. One of his sax jive numbers, “Shake Shake No. 500”, has a brilliantly pacey beat and loose sax phrases.

As with Monday’s compilation, I have a few favourites that I feel the need to single out: “Bye Bye” presents the Makgona Tsohle Band at their peak, with excellent rubber-thick melody from rhythm guitarist Vivian Ngubane. “Ezamabone” and “Taxi Driver” are the two numbers that represent the wild ‘jive mabone’ craze of 1973, both of which feature West Nkosi on alto sax but performing with two different instrumental outfits. “Taxi Driver” just edges it for me with its tough mabone drumbeat and rocking guitar rhythms. Another gem is the superbly swift “Hamba Nami”, credited to Big Mukwebo and His Home Boys. ‘Mukwebo’ refers to James Mukwevho – not the alto sax player but in fact the leader and bass guitarist of the Zwino Zwino Boys, the second-tier Mavuthela backup team (behind the first-tier Makgona Tsohle Band) that actually performs this number. (‘Zwino zwino’ is Venda for ‘now now’, denoting ‘ultra-modern’.)

Going back to West now and his 1972 recording “Intambo”, which is marvellous. It’s a beautifully melodic sax-and-accordion-jive tune with yet another of those brilliant spoken intros, which – as far as I can tell – sings the praises of a new Mavuthela recruit, groaner Paulus ‘Mgodlagodla’ Mabunda. Strange! Mavuthela boss Rupert Bopape provides an amusing spoken intro to “Stop Press” by Mathwalimbuzi, featuring ace musician Sello Mmutung fronting the Makgona Tsohle Band with his alto sax. As the 1970s wore on, the beats became harder and tougher – “Is Out Now” (by Albert Motha’s Amazulu Amnyama) and “Take Time” (by Fastos The Great, aka sax jiver David Khanyile) are from that late 1970s period which saw the final evolution of mbaqanga. Eventually the sound was completely usurped by a new mixture of jive, soul and disco.

A big thanks from me to Laurent Dalmasso for providing Electric Jive with 45 rpm transfers of “Intambo” and Shasha and Jackey’s “Makgona Tsohle”.

What are you waiting for? Download this mix and get your groove on! YEBO!! ☺

SAX JIVE SPECIAL – VOL. 3
COMPILED BY NICK LOTAY

01) MAKGONA TSOHLE BAND – HAMBA PHEPHA LAMI NO. 2 (1967)
02) WEST NKOSI AND HIS ALTO SAX – BYE BYE (1965)
03) MAKGOLOKGOLO – THEOGEDI (1965)
04) ABAFANA BAMA BIG BAG – TETEMUKA (1968)
05) MAKGONA TSOHLE BAND – IZULU LIYA DUDUMA NO. 2 (1967)
06) PAULUS MASINA AND HIS SAX – MADUNA (1969)
07) MAMBAZA NABAFANA BOMSHOSHOLOZO – HILLS OF JIVE (1971)
08) MAZEICKS – SHAKE SHAKE NO. 500 (1972)
09) ABAFANA BOMCIKICO – BAROTHO (1973)
10) WEST NKOSI NABASHOKOBEZI – TAXI DRIVER (1973)
11) MARKS MANKWANE AND HIS SHALUZA BOYS – EZAMABONE (1973)
12) BHENGU & BHENGU – EKHONENI (1972)
13) BIG MUKWEBO AND HIS HOME BOYS – HAMBA NAMI (1974)
14) WEST NKOSI NABASHOKOBEZI – INTAMBO (1972)*
15) SHASHA AND JACKEY – MAKGONA TSOHLE (1972)*
16) HAMILTON NZIMANDE – GIG 74 (1974)
17) MATHWALIMBUZI – STOP PRESS (1976)
18) AMAZULU AMNYAMA – IS OUT NOW (1977)
19) FASTOS THE GREAT – TAKE TIME (1977)
20) MARKS MANKWANE AND THE SHALUZA BOYS – N.Y. 4 (1976)

Download link: MF

VOL. 1 | VOL. 2

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

Usizwe Namatshitshi: Yithi Sifikile (1971)

On hearing the opening bars of the first track you will be forgiven for thinking that this was recorded at the wrong speed. And just as you sit back, realising that this is how it is meant to sound, you might  find your feet saying, 'hey, we want to move to this slowed-up, elastic and catchy mbaqanga beat'.

Another good way to start off the new year from an album that justifies its title of Yithi Sifikile:  "We say we have arrived". The first track "Ufikile Unyaka Omusha" literally means "A new year has begun". "Usizwe Namatshitshi" translates approximately to "even the young girls heard us" - 'itshitshi' meaning adolescent girl.

In a previous post of another slightly earlier 1971 recording of this same band here, Nick is spot-on in describing the music as a blend of traditional and mbaqanga. Today's album perhaps veers just a little more towards mbaqanga, still with the popular mix of male groaner and female vocal group.

Musical Director: H. Vala Nzimande

I encourage you to read Nick Lotay's background on this band and the rivalry between Hamilton Vala Nzimande's Isibaya Esikhulu Music and Rupert Bopape's Mavuthela Music here. As with the previous record, most compositions are Nzimande's, there are also tracks credited to Absolom Mkhwanazi and Albert Motha, who both became the core of the band Amaswazi Emvelo. The lead female singer Busi Dlamini also contributes two tracks.

 

Male vocal: Sizwe Mkhwanazi

Female vocal: Busisiwe Dlamini; Dudu Hlophe; Sarah Gwebu; Johannah Mdlalose.

 

There are five women featured on the record cover, but only four are credited on the back-cover.



The band (Amataitai):

Mntima Dube - Lead Guitar;

Thomas Motshwane - Rhythm Guitar;

Lameck Moloi - Bass;

Dan Van Wyk - Drums



Usizwe Namatshitshi: Yithi Sifikile

CBS LAB.4029
Tracklisting:

1. Ufikile Unyaka Omusha (Nzimande) - 'A New Year Has Started';

2. Sihamba Nonana Chiliza (Nzimande) - 'We are going with Nana Chiliza'

3. Yithi Sibaphethe (Absolom Mkhwanazi) - 'We say we have got them'

4. Thatha Ezakho (Albert Motha) - 'Take your things (and go)'

5. Baythalaza Abantu (Nzimande) - 'The people are waving'

6. Ungamthembi Umuntu (Nzimande) - 'Don't trust people'

7. Amandla Endoda Awapheli (Busi Dlamini) - 'That man cannot be brought down, his energy or power is endless'

8. Lishonile Ngofika Nini (Busi Dlamini) - A question that is asked by a traveller about travel time: will I make it there by sunset?

9. Sithunyiwe Bakithi (Nzimande) - 'We sent'

10. Siyobohla Manyosi (Nzimande) - an idiom which effectively means that harm you did to me will come back to you. What goes around comes around.

 

Rapidshare: here

Zippyshare: here

Nzimande All Stars - Breadwinner Part 2 (1980)

Seriously grooving studio sounds from the Nzimande All Stars (sometimes backing band for Izintombi Zesi Manje Manje), named after uber-producer Hamilton Nzimande.

Nzimande started his musical journey in an early mbaqanga group The Big Four whose single Woza Friday was a big enough hit in South Africa during the sixties to see release "overseas" (listen at Matsuli). Nzimande was instrumental in recording and developing the early careers and musical styles of key seventies artists The Soul Brothers and The Movers. Check this earlier post for details of his relationship with Izintombi Zesi Manje Manje.


A partial discography of the studio group includes Nomali (1974), Sporo (1978) that contained the track Breadwinner, Side by Side (1980) and today's Breadwinner Pt 2. Any further details on the Nomali LP fully welcomed at the electricjive HQ.

So get ready to groove! In 2010 the Nzimanade All Stars also caught the attention of tropical dancefloor specialists Sofrito who released an edit of Sporo Disco.


NZIMANDE ALL STARS - BREADWINNER PT 2
Links: MF

Izintombi Zesi Manje Manje - Umuntu Othulile (1979)

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

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

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

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

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

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

Enjoy!

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

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

RapidShare: here
MediaFire: here