Disco Jive Special - Vol. 1

It made sense that black South Africa would seek guidance from black America with regards to style and fashion. During the late 1960s and early 1970s, local artists began to imitate the musical sounds produced by African-American artists of the day – and it wasn’t long before the country had its own vibrant African soul scene. In the late 1970s, the popular township sound of mbaqanga began to fall out of favour with audiences that demanded a more westernised music. Soul and disco started to fuse with jive to create a unique, original new sound that absolutely drew upon what came before while looking to the future. The usual mbaqanga elements were retained, but with less focus on lead guitar and more attention on the florid organ/keyboard sound that eventually became a core element of the music scene. Today, Electric Jive turns its focus towards that remarkable era where several musical genres paused at a crossroads and converged in one direction – the road to modernity. Disco Jive Special – Vol. 1 comprises 20 smashing hits originally released between 1976 and 1982.

Solo star Olga Mvicane’s “Sanibonani Nonke Zihlobo” opens our compilation with a beautiful bang. Olga, born in 1944, started singing in school choirs and eventually went on to compete in local competitions that saw her bringing home armfuls of trophies. Hoping to make a career out of her talent, Olga moved from her birthplace of Transkei to Johannesburg in the mid-1970s. In 1978, she secured a regular gig at the Pelican Club as a backing vocalist for the legendary Dick Khoza. Khoza, blown away by Olga’s stunning voice, wrote a letter to Gallo producer Marks Mankwane requesting him to audition her. Mankwane wasted no time in signing her to Gallo’s Mavuthela division. For the next few years, Olga was a huge star. She recorded a series of hugely successful 45 rpms, released three hit LPs and performed to capacity audiences across South Africa. But while she received all of the fame, she received none of the money, and her career eventually dissolved when she quit to find a job that paid. Olga later made her name as an actress, starring in a variety of Xhosa-language television dramas of the 1980s and 1990s and several television commercials.

OLGA MVICANE and THE BEGGERS in a Gallo rehearsal room, early 1980s

BLACK DUKE, circa 1982

Duke Ndlovu, alias Black Duke – not to be confused with the 1950s kwela artist who recorded for Troubadour and Trutone – hit the music scene in the mid-1970s, recording a few Percy Sledge-style 45s under the pseudonym The Herbalist. By the early 1980s disco jive era, Ndlovu had cultivated a new identity as Black Duke. Under the production of bassist Joseph Makwela, Black Duke recorded a string of fantastically badass and downright funky singles (issued either under the names Duke Ndlovu, Black Duke, Black Duke & The Counters, etc). His two numbers in this compilation, “Bushi” and “Mmantwa”, present the best of Duke’s treacle-thick tar vocals with excellent synth, organ and guitar accompaniment.

The growth of disco jive called for new stars. Marks Mankwane recruited a new team of instrumental players, The Beggers, and a number of excellent male vocalists to front the band on a selection of recordings, some of whom included Walter Dlamini, Jacob Khoza, Willie Motala and Paul Hlatshwayo. These fantastic singers not only created magical solo recordings of their own (track 3, "Nomkhosi", spotlights Willie's voice), they also provided lead vocals on some recordings made by the Mahotella Queens, the mbaqanga girl group that managed to retain its stardom by quickly adapting to the newer soul/disco-infused jive. “Otlankesa Kae Kesegole Sahao” is a beautiful soulful Mahotella tune with lyrics and melody written by mbaqanga session legend Irene Mawela (though the credit ultimately gave equal billing to Irene and her then-husband, Mavuthela boss Rupert Bopape, despite him not contributing to this particular song).

“Kemolahlela”, an easygoing and laidback number recorded by the Queens in the same session as “Otlankesa Kae Kesegole Sahao”, is one of my all-time favourite songs by the group. The lyrics are excellent, the vocal arrangements are raw and fantastic and the jangly guitar-led backup (complete with sax solo) is perfect. The Queens in this recording are Caroline Kapentar (lead vocal), Irene Mawela, Beatrice Ngcobo, Nomsa Njakazi, Thandi Nkosi, Thandi Radebe and Emily Zwane. A real gem of a song! Irene's beautiful voice returns later in this compilation to lead “Nqonqo”, an upbeat Xhosa disco jive vocal credited to Irene and The Sweet Melodians. Those sweet melodians include Thandi Radebe, then a member of the Mahotella Queens, who offers a brief solo towards the end of the song.

The golden voice of golden boy Ernest Shelembe hit the airwaves in the late 1970s in recordings by a shortlived lineup called The Heroes, produced by Hamilton Nzimande for GRC’s Isibaya Music division. In about 1980 he moved over to Mavuthela and was immediately taken under the wings of top producer West Nkosi. For about two years he contributed his gliding falsetto vocal to dozens of recordings that were issued mostly as Ernest & The Leaves, or simply The Leaves. Shelembe later soared to national prominence with his 1990s kwaito-inspired album Zamalek’, named in reference to Carling Black Label beer. In 1981’s “Wakhetha Iphela Emasini”, Shelembe’s golden voice is spotlighted against crystal clear guitar and wonderful synth as performed by Mandla Mtalana.

Jacob ‘Mpharanyana’ Radebe was without question the finest soul singer South Africa has ever produced. His distinctively smooth vocal – peppered with the odd cough that became the trademark gimmick separating him from the others – was tragically silenced with his untimely death in 1979. A couple of years before his death, Mpharanyana had parted ways with The Cannibals and joined The Peddlers, with whom he jumped both feet first into the disco jive era. They also sometimes made a few recordings under alternate pseudonyms. “Johnny Boy”, a fine love ballad credited to The Butterflies, is unmistakably Mpharanyana, together with Sandra Senne on backing vocals.

And when Mpharanyana was on his way out, Walter Dlamini was on his way in. Dlamini hit the big time in 1978 when he met producer Marks Mankwane. Before long, the group known as Walter & The Beggers was ruling the local disco jive scene with their gorgeously lovey-dovey songs. “You Don’t Love Me” is actually credited to another of those alternate aliases, the rather unimaginative ‘Soul Members’, but it’s still top class Walter & The Beggers. The man-who-knew-he-was-a-star fires on all cylinders in his big 1979 hit “Mr. Postman”, with startling synth effects, fervent bass and the usual English rap about Walter’s love for his sweetheart. The popular Walter & The Beggers operation came to an abrupt end when Walter left Mankwane's unit for West Nkosi's. He re-emerged in the early 1990s as 'Walter D' but quickly faded back into obscurity. Before Walter's life story could be documented from the horse's mouth, the dynamic singer passed away after a short illness in November 2012.

It might be surprising to learn that even traditional music was given the disco treatment in the late 1970s. Alpheus Ramavhea was one of several Venda-traditional artists who arrived in Johannesburg in the 1970s hoping to break into the music industry. Irene Mawela, the very first Venda singer to record mbaqanga songs in that language, offered advice, guidance and a backing voice for Ramavhea, Eric Mokhese and the other Venda artists who won recording contracts with Mavuthela. Ramavhea’s 1979 hit “Mashonelo” begins with some rather atypical acoustic fingerpicking that is quickly joined by electric guitar, electric bass, pop drums and florid organ. Ramavhea’s enjoyably blasé voice breaks into a Mahlathini-style groan once complemented by Irene’s sweet backing.

And speaking of Mahlathini – yes, even the great groaner found himself standing awkwardly at the crossroads when mbaqanga finally fell out of favour. Supported by friend Selby ‘Bra Sello’ Mmutung as his producer (and backing vocalist), Mahlathini recorded a series of admittedly unremarkable disco jive recordings for EMI’s CCP division between 1979 and 1981. “Wosala Kahle” features raw male mbaqanga vocals backed by a modern disco jive beat. It's pleasant enough to my ear, but clearly this combination was too jarring or passé for audiences as these efforts sold relatively poorly. Mahlathini soon found himself without a permanent recording contract and it wasn't until 1987 that he began to enjoy some more substantial popularity again – this time from an overseas crowd.

Sax jive was one of the most popular dance sounds of the 1960s and 1970s. Although the original sound was eventually supplanted by music with a heavier western influence, the same basic formula of sax, guitar, bass, drums and keyboards remained in use well into the 1980s. Alto sax legend Teaspoon Ndelu recorded a number of albums in the early 1980s backed by Gallo session teams including The Peddlers and The Beggers. 1981’s “Disco Funk”, from the LP Ke Kopa Madulo, is simply supreme, combining Teaspoon’s famous sax phrases with trumpet, pounding bass, crisp drums, electric keyboard and sharp guitar to create a moody, psych-like musical environment.

Abaduduzi seems to be one of the dozens of groups that sprung up in the late 1970s and early 1980s hoping to follow in the footsteps of the hugely popular Soul Brothers. But Abaduduzi seems to have enjoyed some substantial popularity if judging from the amount of material they recorded in the 1980s. And 1982’s “Mus’ Ukuyishaya Thembisile”, produced by Marks Mankwane for the Hit Special label, isn’t bad at all – a little more on the jive side than disco, but still a pleasing tune with fairly nice vocal performances (a duo consisting of Sipho Mkhize and, if not Ernest Shelembe himself, then a damn good soundalike), watery organ, soulful guitar and that fresh early '80s percussive beat.

Well, that’s all for now – time to download, grab that old disco ball and get your groove on! Can I get a ‘yebo’?!

DISCO JIVE SPECIAL – VOL. 1
COMPILED BY NICK LOTAY

01) OLGA MVICANE – SANIBONANI NONKE ZIHLOBO (1980)
02) BLACK DUKE – BUSHI (1982)
03) THE BEGGERS – NOMKHOSI (1978)
04) MAHOTELLA QUEENS – OTLANKESA KAE KESEGOLE SAHAO (1978)
05) THE BIG SIX – KITLA KGULELE JOANG (1976)
06) THE LEAVES – WAKHETHA IPHELA EMASINI (1981)
07) THE BUTTERFLIES – JOHNNY BOY (1978)
08) CONNECTIONS – S’THANDWA NGISHADE (1981)
09) SOUL MEMBERS – YOU DON’T LOVE ME (1979)
10) MAHOTELLA QUEENS – KEMOLAHLELA (1978)
11) IRENE AND THE SWEET MELODIANS – NQONQO (1978)
12) ALPHEUS RAMAVHEA – MASHONELO (1979)
13) INDODA MAHLATHINI NA MADODANA – WOSALA KAHLE (1980)
14) WALTER & THE BEGGERS – MR. POSTMAN (1979)
15) TEASPOON NDELU – DISCO FUNK (1981)
16) STEVE KEKANA – PONKO (1982)
17) ERNEST & THE LEAVES – MAKHELWANE AWUNGITSHELE (1981)
18) MAHOTELLA QUEENS – BOTEBONG BAPELO EAKA (1978)
19) ABADUDUZI – MUS’ UKUYISHAYA THEMBISILE (1982)
20) BLACK DUKE – MMANTWA (O SILE MOTSE WA HAE) (1982)

Download link: MF

Disco Soul - 20 grooves from 1970s and 1980s South Africa

The influence of America – in particular black America – on the popular music of South Africa can never be underestimated. The marabi sounds of the 1930s shebeens had their roots in ragtime music – the shebeen itself evokes memories of the US prohibition era. The unique African jazz sounds (both instrumental and vocal) that developed afterwards – peaking at its highest during the 1950s – were a home-grown take on that flavoursome mixture played by the likes of Duke and Ella. Stompie Manana and Hugh Masekela (to name but two) credit Louis Armstrong as one of their strongest influences in the early days of their careers. Then, the mbaqanga music that came into being into the 1960s was developed and popularised on electric instruments that had emerged in the US. The Shirelles, The Supremes and Martha and The Vandellas were an influence on the girl groups that sprung up in Johannesburg and Durban. And so the story goes on.

After the infamous riots of 1976, the opinion that the popular township sound of the time – mbaqanga – was oppressive radio music that only served to keep the blacks in their place was becoming more and more widespread among the dissenting youth of the country. Where did the youngsters turn to for something a bit more new? The US. Elements of mbaqanga slowly merged with the pop sounds of the States to create a synth-led, unique South African disco/soul/pop fusion that enjoyed immense popularity in the townships from the mid-to-late 1970s to the mid-1980s. It is this sound that we highlight today on EJ, with a special mix of 20 tracks originally released between 1978 and 1982. The title of this mix… as well as the cover!... is inspired by one of the many record labels churning out this music at the time.

Jacob “Mpharanyana” Radebe was perhaps one of the most successful and well-known soul singers in South Africa in the 1970s. A music lover from childhood, he became interested in soul and pop music and sang his way into a recording contract. The Wavelets were replaced by The Cannibals who were then in turn replaced by The Peddlars. His biggest hits were with the latter two bands, among the successes he scored were “Hlotse”, “Khotso”, “Uyazicabangela”, “Morena Re Thuse Kaofela”, “Ramasedi” and “Freak Out With Botsotso”. But the captivating sound remained of the highest quality all the way through Radebe’s career, no matter the backing team. “Hela Ngwanana”, recorded in 1979 shortly before his untimely death at the age of 29 in August of that year, is one of his best tracks. That searing smooth voice glides across the on-time accompaniment of The Peddlers with utter style. Radebe harmonises with himself effortlessly (there are three or four “Mpharanyanas” on this song!)

Radebe was the biggest-selling singer of this era. It is impossible to reiterate his stardom with the black public, but you may get a clue with “Dithoko Tsa Mpharanyana”, a tune recorded in 1979 after Radebe’s death. This oddity is a tribute put together by rival producer David Thekwane, who chants (and coughs) about the late star with a session team providing a subdued backing accompaniment. A truly peculiar song but interesting nonetheless and possibly an indication of how deep Radebe’s talent sank into the consciousness of the mass, including those in musical opposition!

The Cannibals, led by lead guitarist Ray Phiri, changed gears and joined the wing of producer Marks Mankwane in later 1979. Their sound mixed that famous soul brew with disco, creating a unique new post-Mpharanyana sound that found favour with the public. Joining the team on vocals were Paul Ndlovu and Anna Sikwane. Their first LP with this line-up was Get Funky (available here). Another notable LP included Put Your Dancing Shoes On, released in 1981 – see Afro-Synth for some info about that release. Four of The Cannibals’ tracks from this Mankwane era – two from their 1980 LP Tired Of The Past and the other two from their 1981 LP Total Rejection – are included in this mix.

After Mpharanyana, a wealth of male vocalists attempted to take his place. The Cannibals introduced Paul Ndlovu… The Peddlars moved forward with A. B. Lechuti… Marks Mankwane produced the likes of Walter Dlamini, Morgan Mokgopa and Jacob Khoza… but one of those male vocalists who had a greater degree of success was Duke Ndlovu. Ndlovu perhaps scored success because he wasn’t emulating Mpharanyana – he did his own thing, at times with a dash of Percy Sledge thrown into the mix! It isn’t clear how or when Ndlovu entered the industry, but the team of West Nkosi and Marks Mankwane produced some of his early (to our knowledge) recordings in 1976 under the name The Herbalist, released on the Soul Jazz Pop label. After some years flitting from producer to producer and from pseudonym to pseudonym, Ndlovu settled under the production of Joseph Makwela from 1982, using the recording name Black Duke. His material, released mostly on the Majavajava label, was perhaps “mbaqanga gone badass” (if you’ll excuse the language). I have included four of Black Duke’s numbers in this mix purely because I love his thick, treacle-like singing style combined with the heavy Western-influenced sound.

There are two great mbaqanga-flavoured numbers by Patience Africa that I could not resist including in this mix. Patience’s wonderfully strong and impassioned vocals on these two tracks – taken from her 1982 LP Ebang Le Mohau – are captivating, particularly “Monna Waka”, an ode from a woman to her lover. After a subdued musical start and then a long period of family life, Patience joined West Nkosi in around 1976 and spent some six or seven years under his production recording successful solo material, backed by West’s various soul teams including The U-Vees, The Shoe Laces and (most successfully) The Peddlars. She was awarded “Best Female Vocalist” numerous times by the SABC in its unnamed blacks-only version of the SARIE Awards. Though these ceremonies were more or less shambolic and by and large insulting to the musicians they were supposedly rewarding, Patience really was a top talent deserving – like all her contemporaries, no matter the style of music – of so much more. If any EJ readers out there own any of her older material from the ‘70s and ‘80s, please do drop us a line… we’d love to hear.

There are many more artists and songs I have neglected to mention in full, but all of them are goodies. The famous and fabulous Steve Kekana, complete with his smooth, slinky harmonies, is present with one of his popular early ‘80s numbers; the duo Willie & Paul (Willie Motala and Paul Hlatshwayo) pop up with a lovey-dovey tune; Walter and The Beggers insist that “Disco Jive” is for the young and the old; the Mahotella Queens give us one uncharacteristically hot soul-fuelled rendition; soul band Marumo is represented by two slow ballads; Sunset’s one offering is an appropriately hot tune; and Teaspoon Ndelu – through his sax and his resonating voice – tells the story of men abandoning their wives and families to seek solace in alcohol. The recordings here were released on various labels, the most notable being: Disco Soul, MSE, One Way, Soul Jazz Pop, Majavajava, Soul Soul, Hit Special, and Music Machine.

This isn’t often a period of South African music that we focus on here at EJ. It is also something of a departure from the mbaqanga sounds that I proffer your way. Those who are into that sound can relax – normal service will be well and truly resumed with my next post next month! But I couldn’t resist the temptation to share such a collection of tunes so far away from the norm. I hope some of you out there will enjoy listening to these grooving tunes as much as I have done. Dig it, man!

DISCO SOUL

1. NOT ENOUGH FOR ANYONE – THE CANNIBALS (1980)
2. HARE KHUMAMENG – STEVE KEKANA (1982)
3. MOHLALEFI – SUNSET (1982)
4. EBANG LE MOHAU – PATIENCE AFRICA (1982)
5. NYALANANG – WILLIE & PAUL (1980)
6. MAMAKI – BLACK DUKE (1982)
7. DISCO JIVE – WALTER AND THE BEGGERS (1978)
8. HELA NGWANANA – MPHARANYANA AND THE PEDDLARS (1978)
9. DITHOKO TSA MPHARANYANA – DAVID THEKWANE (1979)
10. DIKGUPA MARAMA – MAHOTELLA QUEENS (1982)
11. MODIEHI – MARUMO (1982)
12. O MPHOQILE – BLACK DUKE (1982)
13. I’M TIRED OF THE PAST – THE CANNIBALS (1980)
14. I LOVED YOU IN THE MORNING – DUKE NDLOVU (1982)
15. SPUTLA – TEASPOON NDELU (1981)
16. TIME FOR LOVE – THE CANNIBALS (1981)
17. O LERATO MORENA – MARUMO (1982)
18. MOHOKARE – BLACK DUKE (1982)
19. TOTAL REJECTION – THE CANNIBALS (1981)
20. MONNA WAKA – PATIENCE AFRICA (1982)

RS / MF

Enjoy!