The Sherbone Stars - Nokuzola (1979)

We continue our exploration of the fields of 1970s soul and disco. Today's LP is Nokuzola, released in 1979 on the Ziya Duma label and produced by the legendary West Nkosi. The album features 12 disco-soul-jive numbers by The Sherbone Stars and The Peddlars. While not much can be said about the seminal Peddlars that regular readers don't already know, you may be wondering who The Sherbone Stars are. The ladies - Joana Thango from Kwa Nongoma, Catherine Dumakude from White City Jabavu, Helen Mosolodi from Sibasa and Sandra Senne from Rustenburg - are the unknown voices you can hear harmonising on most of Mpharanyana's recordings made with The Peddlars between 1978 and 1979. The composer credits indicate the presence of session player Meshack Mkhwanazi and the LP itself includes some lead vocals from other freelancers including Albert Motha, Mahotella Queens vocalist Thandi Radebe and Jacob Khoza. Mpharanyana Radebe only appears on one number here - "Ngiyizwile Inyoni" - but there are Zulu language versions of songs from his album Morena Re Thuse Kaofela (Soul Jazz Pop BL 173). Both Meshack Mkhwanazi and The Sherbone Stars were shepherded by West on a variety of studio productions including the aforementioned Morena Re Thuse Kaofela, Patience Africa's hit albums Siyabonga (Soul Jazz Pop BL 175) and Let's Groove Tonight (Black Hi-Lights Records BL 245) and a number of recordings by Venda group Takalani Band, shared here on Afrosynth. Both Meshack and fellow musician Albert Motha were recruited by West into a new mbaqanga group later in 1979 - Amaswazi Emvelo.

Enjoy!




THE SHERBONE STARS
NOKUZOLA
produced by West Nkosi
Ziya Duma BL 174
1979
Zulu and English Vocal

MF

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

Mahotella Queens - Ezesimanje (1982)

For today’s post, an early 1980s album from female mbaqanga mavens the Mahotella Queens - Ezesimanje, released in 1982 on the Hit Special label and produced by guitarist Marks Mankwane.

Naturally the staples of 1980s mbaqanga are all there – the lone lead guitar, bass, lively organ and disco drums – but unlike most of the other African pop acts of the day, this one does not follow the restrained Soul Brothers beat and instead feels much more vigorous and buoyant. Whether the presence of female singers has anything to do with it isn’t quite clear, and to be fair to the great Soul Brothers, they were always much more enthralling and exciting live on stage than on LP. (That didn’t stop them outselling the Queens and every other mbaqanga act in the 1980s though!)

The lead vocals on Ezesimanje are handled by Emily Zwane, who was the de facto leader of the group during the somewhat circuitous late 1970s – mid 1980s period, until producer Marks Mankwane dissolved the line-up and brought back three of the more famous singers who had seen the Queens through its supreme glory days of the mid 1960s through the early 1970s. (The line-up on this album, referred to by industry figures as ‘Mahotella B’, actually continued to perform together long after Mankwane terminated their services in the wake of the international breakthrough of South African music. Mankwane busied himself with the reconstituted Mahotella Queens, Mahlathini and the Makgona Tsohle Band, while the Mahotella B line-up continued to perform under that moniker for audiences at home for some years thereafter, creating some confusion among punters about which act was actually the legitimate one.)

The opening tune, “Amanga Neqiniso”, advises people to be truthful in order to gain the love of others, rather than lie and court misery. The lyrics may be tame but the vocal harmonies are sweet and pleasant, as is the Mahotella way. “Ngothini Na?” is a lovely soothing gospel ballad featuring a solo sax and spiritual vocals. The fifth track “Bongani Mntanami” chides a youngster for going out late and disrespecting his granny – a perpetually relevant topic. The last track isn’t musically outstanding but still one of my favourites: “Isono Sami” is a poignant number about a woman who says she has sinned by remaining in Johannesburg without having returned home to see her loved ones. With each passing year she has remained in Joburg despite their pleas for her to come back to see them. ‘What will I say when I go back?’ she says.

Marks Mankwane, in addition to producing the album, plays lead guitar here alongside Mzwandile David on bass. The keyboardist is Thamie Xongwana, Mike Stoffel plays the drums, while Mike Nyembe provides a secondary guitar on one or two of the numbers.

Queens (from left to right on album cover): Beatrice Ngcobo, Maggie Khumalo, Emily Zwane (lead vocals), Hazel Zwane, Caroline Kapentar.

Enjoy!

MAHOTELLA QUEENS

EZESIMANJE

produced by Marks Mankwane

engineered by Keith Forsyth and David Segal

Hit Special IAL 3034

1982

Zulu Vocal

MF

Classic mbaqanga: Sishong Sa Melodi (1969)

A special treat for EJ readers today: a compilation LP featuring 12 of the best hit vocal jive tunes of the past year, Sishong Sa Melodi, released on the Gumba Gumba label in 1969.

The single format was more or less the preferred choice for the African consumer during that bygone era of Radio Bantu, the days when mbaqanga music blasted through transistors and filled the air across the South African townships. Although the first African 45 rpms were produced from the mid-1960s, 78 rpm singles remained in production until around 1969. The story goes that the country's African population simply couldn't afford the expensive hi-fi systems needed to play the more durable 45 rpm, so gramophones continued to rule the roost for years onwards. Record companies later collected some of the highest selling singles (and often those that weren't shifting as many copies) on 33 rpm format to produce (at best, excellent, and at worst, interesting) compilation LPs. Sishong Sa Melodi was but one of several LPs issued in 1969 by Gallo's Mavuthela Music division and arguably features some of the finest mbaqanga recordings put down on 78 and 45 rpm in the late sixties. Despite the... questionable condition of the LP jacket, the disc itself is in remarkably strong condition with unobtrusive surface noise. All the better for hearing the music then!

Inevitably, the African girl group features prominently, with cuts from no less than four ensembles - Dima Sisters, Izingane zo Mgqashiyo (a.k.a. the Mthunzini Girls), Izintombi zo Moya, and Marula Boom Stars (a.k.a. the Mahotella Queens). "Taba Tsela" is a great if somewhat sober introductory tune from the Dima Sisters featuring some solid harmony work and easygoing guitars. Though track number 2 is listed on the jacket and the disc label as being "Esale Ke Ngola" by the Dima Sisters, the track on the LP is actually "Sponono" by the Jabavu Queens. Weird! Similarly, track 4 is listed as being "Sekoloto" by the Marula Boom Stars, but is - for now - an unidentifiable 'African jazz' instrumental. No matter though... they're both cool tunes.

One of my favourites on this LP is "Kajebane" by Izingane zo Mgqashiyo. Such a fun number, complete with catchy late '60s organ soul beat! The very next tune is pretty much a similar affair but by no means a repetition of what came before - "Mojiko Wa Soul" by Izintombi zo Moya. Gorgeously fat, warm organ sound. That sound carries over onto side 2 in the excellent "Matlare" by the equally excellent Mahotella Queens. For those of you who care for nerdy details like I do, you'll be interested to know "Matlare" was later re-recorded by the Queens in 1988 as "Mme Ngwana Walla" for the album Melodi Yalla. Nothing beats the original though.

Izingane zo Mgqashiyo returns for two classic Sotho vocal jive hits, "Dikuku" and "Sophie". The former is based on a popular wedding song pointing out the juxtaposition between the delicious taste of wedding cakes and the sourness that marriage can sometimes produce.

The closer is "Tshiwanyana" by the Marula Boom Stars - excellent up-tempo beat from the Makgona Tsohle Band combined with the tightly layered vocals of the Queens at their youthful best. Just delightful!!

Now all you have to do is download Sishong Sa Melodi, have yourselves an mbaqanga party and play these MP3s at full volume. Enjoy!

VARIOUS

SISHONG SA MELODI

produced by Rupert Bopape

Gumba Gumba LMGG 4

1969

Sotho Vocal Jive

MF

Indoda Mahlatini Na Madodana (1979)

Today's share is a 1979 album by the legendary mbaqanga groaner himself - Simon 'Mahlathini' Nkabinde.

Mahlathini's 1970s career had been decorated with a series of hits and misses. In late 1972, the groaner left the Mahotella Queens and joined a new group formed by some of the same ladies called Amakhosazana. A two-year period saw immense success, unsigned, but ended abruptly after the members were ripped off and cheated by aspiring impresario Piet Ntuli. Mahlathini and Amakhosazana ended up at Satbel under the careful production of C.B. Matiwane, this time recording as Mahlathini and The Queens. The gutsy, tough and raw music produced during this era can be found on the excellent Earthworks compilations The Lion of Soweto and King of the Groaners, as well here on Electric Jive. Matiwane's involvement in Satbel eventually waned and the company disintegrated around 1977. Mahlathini and The Queens moved over to CCP (a local subsidiary of EMI) under the production of none other than Piet Ntuli. Two LPs were produced (one of which can be found here) until Ntuli's corrupt ways finally dissolved the band. The Queens disintegrated but Mahlathini and Ndlondlo Bashise stayed on at EMI, this time under the production of the groaner's friend, sax jiver and occasional vocalist Bra Sello Mmutung.

By the time Indoda Mahlatini Na Madodana was recorded, mbaqanga had already started its sharp decline after a 15-year period as the preferred sound of the townships. In many ways this album is a pure oddity, combining the raw Satbel-era sound with some rather gaudy electric keyboard and - on one track - disco drums. Nonetheless, there are some goodies here. "Siyabuza" is fiery Mahlathini at his best, duetting with longtime musical associate Lazarus 'Boy Nze' Magatole. "Akekho" is another tune in the same great vein. Mahlathini, Boy Nze and Bra Sello handle most of the vocals, although they are joined by the Mahlathini Girls - Lindiwe Gamedi, Gugu Sithole and Hilda Tausi - on three of the tracks.

A strange one... but definitely worth a listen. Enjoy!

MAHLATHINI

INDODA MAHLATINI NA MADODANA

produced by Bra Sello

Goli GOL (E) 307

1979

Zulu Vocal

MF

Alpheus Ramavhea - Ndo Shavha Tshikolo (1982)

Alpheus Ramavhea ranks alongside Eric Mukhese and the Takalani Band, Irene Mawela, Daniel Luambo, Colbert Mukwevho and Adziambei Band as one of the most influential Venda artists of all time. Today we share Ramavhea's 1982 album, Ndo Shavha Tshikolo, released on the Igagasi label and produced by Mavuthela guitarist Marks Mankwane.

By the late 1970s, Irene Mawela had become highly revered by Venda listeners and artists alike as the first artist to record mbaqanga songs in her mother tongue. (Record companies generally discouraged artists from recording songs in 'unsellable' languages, so the bulk of Irene's compositions were written in Zulu and Sotho for Gallo to release on 45rpm singles. Irene would then translate most of these into Venda for airplay on the then-Radio Venda, a unique move making her the first 'pop star' of the station when all other music broadcast was labelled 'traditional'.) Alpheus Ramavhea signed a recording contract with Gallo/Mavuthela in about 1979 and was immediately joined by Irene in the studio, who provided backing vocals and offered suggestions on how to make his sound more distinctive over potential competitors.

With the help of both Irene and guitarist and producer Marks Mankwane, Ramavhea's laidback vocals, groaning moans and acoustic picking were infused with the trademark mbaqanga sound. Ndo Shavha Tshikolo is Alpheus Ramavhea at his best, featuring twelve foot-stomping tracks. The vocal patterns here are just excellent and the backup is crisp. Particular highlights include "Vhuhadzi" (that is Irene doing the solo halfway through the song), "Muhadzinga", "Tshililo" and "Lufuno". Simply great music!

Enjoy!

ALPHEUS RAMAVHEA
NDO SHAVHA TSHIKOLO
produced by Marks Mankwane
engineered by Keith Forsyth
Igagasi IAL 3029
1982
Venda 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

Mahotella Queens - Tsamaya Moratuoa (1980)

We turn our focus now to some sunny early 1980s female mbaqanga. Tsamaya Moratuoa, featuring 12 Sotho songs originally released on singles in late 1979, is a 1980 release from the always wonderful Mahotella Queens. Although soul and disco music had already started to take the focus away from mbaqanga, the Queens continued to enjoy some substantial popularity thanks to strong compositions, superb vocals – and a revitalised instrumental backing: the second guitar was replaced by an organ, and the old sidestick snare was more or less exchanged for full disco-style drums.

So much of the Queens’ music of this era developed from real-life situations. The title song of this particular LP is nothing short of a masterpiece. Emily Zwane, vocalist for the Queens since 1971 and the group’s main lead singer between 1978 and 1987, wrote “Tsamaya Moratuoa” after her marriage to taxi driver Moses Mathibe collapsed. The two had got wed and moved in together in Daveyton, Johannesburg, but Emily’s job required her to tour South Africa (and surrounding countries) for up to six months of the year. After returning home from a Queens tour, Emily was shocked to discover Moses – and his belongings – absent from their marital home.

Emily later discovered that the man she loved had been legally declaring himself as unmarried for the entirety of their relationship. (For reasons known only to him, Moses continued to boast about once being with the famous Mahotella Queen for decades afterwards.) Emily, an archetypal strong woman who – for all her warmth and good nature – was never one to share her emotions, took the obviously therapeutic step of singing out her sorrow: “Go with peace, my love… you left me alone and miserable, putting your happiness before mine… I hope that wherever you go, they treat you with the same care and love I gave you… don’t cry, my love, because I’m not in tears myself… it’s true what the elders say… ‘Every difficult situation eventually comes to an end.’”

“Tsamaya Moratuoa” was a huge hit song for the Queens. Marks Mankwane arranged for the ladies to do alternate versions of the song in Zulu (“Hamba Sithandwa”) and in Tswana (“Tsamaya Moratiwa”), which won Emily the award of ‘Top Composer on Disc’ from Radio Tswana in 1981.

Another brilliant few songs come from group member Caroline Kapentar, who joined the Queens in 1973 after seven years at Mavuthela. Caroline is noted for her strong compositions - meaningful lyrics and extremely catchy melodies. "Mokgadi O Fihlile" refers to the ladies who long to see their men; the husbands who work all year long with only a brief Christmas holiday to see their wives and children. Another, "Ke Utloile", is a beautifully emotive ballad urging children to listen to their parents - this way, they'll avoid the feelings of guilt and regret when they become adults.

The other standout songs on this LP come from the creative mind of solo star Irene Mawela. (In 1979, the Mahotella Queens fell short of a few vocalists, so producer and guitarist Marks Mankwane recruited Irene and fellow solo singer Olga Mvicane to temporarily flesh out the group while they were in the studio. More permanent members were recruited later on in the form of Hazel Zwane – no relation to Emily – and Maggie Khumalo.) Irene re-arranged two traditional Sotho numbers for this album: “Mangwani Mpulele” and “Re Basadi Kaofela”. In the first number, the ladies sing the catchy English ‘it’s raining outside, raining outside’ lyrics, peppered with male vocals from dynamic soul singers Walter Dlamini and Mandla, and Irene takes the second song to a high with the repetitive ‘dumela, dumela…’ (‘greetings to you all’), performed in her usual sweet, supernatural voice.

The Queens on Tsamaya Moratuoa are: Emily Zwane (lead vocal), Irene Mawela (lead vocal), Caroline Kapentar, Thandi Nkosi, Sheba Malgas and Olga Mvicane. They are backed by The Beggers: Marks Mankwane (lead guitar), Mzwandile David (bass), Thamie Xongwana (organ), Mike Stoffel (drums). Enjoy!

MAHOTELLA QUEENS
TSAMAYA MORATUOA
produced by Marks Mankwane
engineered by Greg Cutler and Phil Audoire
Gumba Gumba BL 226
1980
Sotho Vocal

MF

Electric Jive Jukebox: Isitimela Sase Tekwini

This jukebox idea came from an idle daydream about how much space would be needed to store one of every record that was ever made and pressed in Johannesburg since 1932 when Eric Gallo established South Africa's first press.

South Africa's recorded music heritage is one such "jukebox" with too many lost, forgotten and out-of-print musical creations. An uncounted large number of recordings have been made to cater for diverse and eclectic musical, tribal and sub-cultural tastes. In the course of digging for records I have turned up some great music on 78rpms or 45rpms that I cannot find on albums. So, how then to present them on this blog?

The original records were bought by a sizable urban African populace and enjoyed  at household parties, shebeens, fund-raising dances in halls. While I cannot find evidence of jukeboxes having played much part in this scene, the idea of a "jukebox selection" makes for a comfortably loose way of grouping some rare and out of print records together for a post on Electric Jive.

Imagine if you will, a massive jukebox filled with the most diverse representation of sounds that were recorded and sold in cities and towns across the country. Traditional tribal "trance" recordings made by visitors to the studios, gospel and religious choirs, mbaqanga, soul, jazz, disco, funk - it was all very much part of the possible "selection" from what was available.

Electric Jive Jukebox Number One is a selection of  60s mbaqanga with some swing and jive themed around a train-ride holiday-to-Durban. Some great female vocal jive, swing and mbaqanga for a sub-tropical Durban holiday feeling ... just like it has been this long-weekend. Enjoy

1. Isitimela Sase Tekwini - Trutone Dolls (78rpm Stokvel ST.019).
2. Kumnandi Ethekwini - Reggie Msomi's Love Birds (45rpm Gumba Gumba MGG698) (1977).
3. Gijima Mfana - Mthunzini Girls (78rpm Motella MO120).
4. Big Brain Jive No.2 - Transvaal Rocking Jazz Stars (78rpm Columbia YE6039).
5. Ndode Khohlanele - Thandi & Lo Six (78rpm Zonk TV.222 )
6. Lucky Star Twist No.2 - Golden City Sisters (78rpm Tempo KT.525)
7. Ngaliwe - Durban City Queens - (78rpm DRUM DR166)
8. Dudu - Thandi & Lo Six - (78rpm Zonk TV.222)
9. La Conga - West Nkosi (78rpm Gallo USA USA321)
10. Erautini - Shanty Town Trio with Thandi Mpambani (78rpm Colombia YE55)
11. Wongkhonzela - Durban City Queens (78rpm DRUM DR166)
12. Madison Square No.2 - Golden City Sisters (78rpm Tempo KT.525)
13. Union Express - Albert Ralumini (78rpm RCA Victor Top Beat RCA291)
14. Durban Road - Makhona Zonke Band
15. Iwisa Lakho - Johnson Mkhalali with the Mabone Boys (45rpm GoGo GGB612) (1977)
16. 1968 Special - Mr V. Mzwandile & His Accordeon (45rpm Up Mavuthela UPM812) (1973)
17. Mthathe Masaka - Boy Masaka (78rpm Columbia YE0658)
18. Ungalile - Joyce Mogatusi & Boy Masaka (78rpm His Master's Voice JP876).

Download link here

Boyoyo "900" Umjiko Wamarabi (1973)

As summer comes to an end in the north, we feature an exciting early 70s compilation on the Trutone label. Strangely, none of the artists are credited on the cover, but the composer notes do reveal some of the best from Gallo — Marks Mankwane, Lucky Monama, West Nkosi and others — playing an eclectic array of mbaqanga instrumentals on sax, concertina and organ.

Thomas Phale’s first major hit with the T-Bones was “Boyoyo” in 1972. The title also happened to be the nick-name of the group's first drummer. The track was so successful the group decided to change their name permanently to the Boyoyo Boys. Issued in February 1973, the Trutone LP featured today, is clearly riding the wave of the "Boyoyo" phenomenon. Nevertheless I am not sure if any of the Boyoyo Boys are featured here.

Watch this space for some more comprehensive archival material coming soon!

Boyoyo "900" Umjiko Wamarabi
Trutone
MSLP 502
(1973)

The Best of NUMBER ONE [MILLION]

Yesterday Electric Jive reached a milestone of one million page views! And July 2014 marks the fifth year since Chris and Matt launched this blog... and so thank you all who have visited these pages over the last 60 months!!!

What better way to celebrate than with this elusive instrumental mbaqanga compilation: The Best of Number One Records (N 9000). Number One was developed in 1972 by EMI, South Africa as a budget label and this unique sampler disc features nearly one track from each of their first fifteen LPs (N 9001 - N 9015). The label is perhaps best known for re-issuing some of the most desirable SA LPs of the mid to late 1960s, including: Armitage Road by the Heshoo Beshoo Group, the 1964 Castle Lager Jazz Festival featuring the Malombo Jazz Men, Nomvula's Jazz Dance by the Jazz Ministers, and a number of albums by The Kings Messengers Quartet (which still leads EJ in the most page views).

Ironically (or typically) this album does not feature any artists names, even though it is labeled as a "Special Sample Record for the SABC" (South African Broadcasting Corporation). Most tracks are attributed to Tom Vuma and/or P. Manthata, but some of the albums have been featured here at EJ so we can extrapolate at least these four artists: Alfred Ndima (N 9005), The Black Eagles (N 9006). The Moon Stars (N 9009) and Abafana Basekhaya (N 9015). Of course there is the possibility that these are all the same session musicians, but if anyone is able to identify any of the other artists, please let us know.

The Best of Number One Records
Various Artists
1972
Number One (EMI)
N 9000

The Sound of Motella (1966)

Sometimes I wonder if I run against the grain of most record collectors in having a deep attraction for particularly damaged records. The album featured today is no exception. From an absent corner that must have provided sustenance for some small creature, to the beautiful water stain that runs across the back and visually approximates the north-western coastline of Africa—the cover by most accounts would be considered severely compromised... or as it would be listed on eBay... "G" for "Good"!

The condition of the vinyl, thankfully, is not as dire. Issued in 1966 on the Motella label, this compilation is the second long playing record published by Gallo's iconic Mavuthela stable following the debut: Meet the Mahotella Queens (LMO 101). The album brings together an eclectic range of early instrumental sax and harmonica jives, save for one track—Mayoyo—featuring female vocalists (perhaps Nick Lotay can help us out with identification). What more can be said about this iconic company that has not already been covered by Nick in his excellent posts here at Electric Jive and Matsuli. Do check these out!

As with most LPs from this period, the compilation features tracks previously issued on 78 rpm. While the track listing, oddly, does not reveal the artists' names, the images of the Motella labels on the front cover do; and so I have listed the details below:

01) Mario and his Khaila Alto — Jive March Time
02) Hlathi & Mahlathini — Khonza Egagasini (MO 43)
03) Marks Mankwane & His Alto Sax — Kap Kap Jive
04) Anania Wa Mfolo — Khula Anania (MO 63)
05) Jazz Manikiniki — Raai Raai (MO 55)
06) Jazz Manikiniki — Mayoyo (MO 75)
07) Jazz Manikiniki — Welcome 1966 (MO 74)
08) D. Makhekhe & His Sax — Qhude Manikiniki (MO 81)
09) D. Makhekhe & His Sax — Ginyitshe
10) Pyjama Party Band — Fukuzela
11) David Khanyile & His Alto Sax — Tha Tha U Thu Thuke
12) Jazz Manikiniki — Meropa Morago
13) Marks and His Alto Sax — Phalaborwa
14) Mario and his Khaila Alto — Jive Smodern Jive No.4

The Sound Of Motella (Town and Country)
Various Artists
1966
Motella, LMO 102

Intuthuko Brothers - Stars of Africa (1976)

As promised last week, today we feature the first in a series of posts on the Intuthuko Brothers. Also known as Abafana Bentuthuko, this distinctly mellow mbaqanga group was led by guitarist Hansford Mthembu and can often be heard backing Bra Sello Mmutung on a number of his LPs. The 1967 compilation album, Modern Sax Stars, featured here at Electric Jive includes Mthembu and his group as well as David Khanyile and Bra Sello.

The group that became the Intuthuko Brothers were formed around 1966 and were hugely popular in South Africa and toured extensively throughout the country and Swaziland in the mid 1970s.

Stars of Africa (1976) is dedicated to the group's first bassist Jackson Simelane Makwenta who unfortunately died in a car accident in 1975. Makwenta is also remembered by the inclusion of the first track, Mahlabathini Special No. 6, which he composed and arranged.

Intuthuko Brothers
Stars of Africa
Kaya-Lami
KYL 2002
1976

Amagugu: Ubhek'uZulu (1974)

"Africa's Greatest Vocal Group": goes the front cover marketing hyperbole from 1974. Amagugu were certainly vocally very strong though - sultry, velvet harmonies. Add legendary lead guitarist and arranger Hansford Mthembu to the girl group and groaner mix, and you have a very strong mbaqanga album.

I turned to Electric Jive's walking mbaqanga encyclopedia, Nick Lotay, to see if he could tell me more than the little that is available on the record and cover. This is what he had to say:

"The regular members of Amagugu during this time included Sannah Mnguni (lead vocals), her sister Francina 'Thopi' Mnguni, Thoko Khumalo, Liliah Vilakazi and Thandi Kheswa (who was a Mahotella Queens member from around 1969 to 1974). The lady photographed on the front cover isn't Sannah - it looks like it could be Thandi Kheswa, but I'm not sure. The male groaner is Harry Nhlapo who later joined Abafana Baseqhudeni at Mavuthela, and at one point sang with the Queens.

"The lead guitarist on this LP is Thopi's husband Hansford Mthembu, one of the legendary mbaqanga players of all time and one of the crafters of Amagugu's sound. Kali Monare is the drummer. Titus Masikane, credited with writing two of these songs, was the group's producer and manager.

"I don't know who or what the "Umqangabodwe" credited as having written four songs was, but producers of the time would habitually invent random names to replace the name of the real composer, possibly to collect the ensuing royalty fee for themselves."

1. Ubhek'uZulu - (H. Nhllapho)
2. Imvula (Umqnagabhodwe)
3. Ulwandle (Umqnagabhodwe)
4. Inyoni Emhlophe (Umqnagabhodwe)
5. Instsholontsholo (Umqnagabhodwe)
6. Chuchu Makgala (Thandi Kheswa)
7. Mesong (K. Monare)
8. Samelu (Sannah Mnguni)
9. Emakhabaleni (T. Masikane)
10. Mngane Wami (T. Masikane)
11. King of My Heart (H. Mthembu)
12. Salani Kahle (H. Methembu)

AMAGUGU
UBHEK'UZULU
Producer: Titus Masikane
Skyline Jazz: SK80162

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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

Lift-off for Abafana Basekhaya (1972)

It is hard not to be distracted by the striking graphic art on this great album cover. I am not sure that the 1969 launch of Apollo 12 remained uppermost in the minds of South African music lovers in 1972, but the local urban fascination with many things American is very much in evidence here.

Marketing and imagery aside, Abafana Basekhaya (The Home Boys) deliver a clean, almost contemplative, stripped-down and catchy collection of languid saxophone-driven instrumental mbaqanga. This album is very much in the mould of this earlier minimal mbaqanga posting on the same Number One label - Sea Water.

All the tracks on this album are credited to Tom Vuma and P. Manthata, except the first, "Apollo No 12", which is credited to R. Sathige. The band members are not identified.

"Apollo No 12" and "Going to the Moon" are perhaps my favorite tracks, for their  looping, lilting, sassy swaying effect - kind of, I have consumed too much to dance too energetically, but these tunes do keep me wanting to keep on shuffling on.

The price of this record in 1972 was R1.99 - or $2.60 at that time (with the rand being stronger than the dollar 1:1.33). At the current exchange rate (10:1), the cover price of this record would cost just 20 U.S. cents. What goes up must come down? Who knows?

I might yet make myself a t-shirt with this cover image, and the "Moon Fever" cover to follow in the future.  Many thanks Burgert for giving me this album. Do Enjoy!

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Thomas Phale and Others - Sporo No. 4 (1979)

Today, we focus on one of my favorite early finds, Sporo No. 4, a fresh, zippy, late-mbaqanga project produced by Teal’s David Thekwane and featuring Thomas Phale with Lulu Masilela, Johnson Mkhalali and others. I included a track from this excellent album on my first FlatInternational mix hosted at Matsuli in 2008 and then later at flatint.

Recorded in 1979, this LP arrived at a time when South African interest in mbaqanga was beginning to wane in favor of disco influenced soul jive which happened to be peaking that same year. But the decline of mbaqanga in South Africa ironically came at the very moment it was to become an international phenomenon, launching South African music globally during the height of the apartheid years.

Of course, Thomas Phale, Lulu Masilela Johnson Mkhali, David Thekwane are all names that were, at various times in the preceding decade, associated with the very successful group the Boyoyo Boys. It was the Boyoyo Boys’ hit Puleng that in 1983 was appropriated by Malcolm McClaren in his dance hit Double Dutch and resulted in an extended legal battle. More significantly it was their track Gumboota featured on a compilation Accordion Jive Hits No.2 that in 1984 caught the ear of Paul Simon. Simon liked the tune so much he wanted to re-record it with the same musicians and controversially chose to break the cultural boycott by coming to Johannesburg to make the recordings. Other than Simon’s lyrics and two added saxophones, the resultant tune Gumboots was identical to the Boyoyo original and subsequently was featured on the classic album Graceland.

In Beyond Memory, Max Mojapelo mentions that Thomas Phale hailed from Benoni (now Ekurhuleni) and was inspired by the likes of Kid Margo, Sammy Boy and Boy Masaka. He began playing pennywhistle at the age of 17 but later was convinced to shift to saxophone by Bra Sello Mmutung. In 1968 he joined the Mabhoko Sisters and formed a group called the Gold Diggers before moving to RPM in 1969.

According to the liner notes of the Boyoyo Boys’ second Rounder LP, TJ Today, the Mabhoko Band was a four-piece, instrumental, mbaqanga group founded in 1969 by Vusi Xhosa (on guitar), with Vusi Nkosi (on bass), Lucas Pelo (on sax) and Phillippe Mziza (on rhythm guitar). Pelo also performed in another group (I am assuming the Gold Diggers) with Thomas Phale from whom he learnt to play saxophone. The nickname of the group’s first drummer happened to be "Boyoyo", but after some financial troubles he left and was replaced by Archie Mohalla. The group subsequently changed their name to the T-Bones.

Whether the Mabkoko Sisters is the same group as the Mabhoko Band, is unclear to me. Nevertheless Mojapelo’s account suggests Phale’s first major hit with the group was “Boyoyo”. The track was recorded in 1972 by the T-Bones and was so successful the group decided to change their name to the Boyoyo Boys. 

Mojapelo goes on to give a rather humorous account of how many classic mbaqanga tunes from this period got their names: "If a track was a huge hit, it would become a series, for example Rock Pata, Jackpot, Taxi Jive, Percy Jive, Jive Smoden Jive, Lekope Special, Mabone, etc. Other tracks were named after places or roads like Marabastad, Dube, Soweto, Durban Road, Platform 1, Mamelodi, Maokeng, etc. Events also got their share as in Apollo 11. Some instrumental hits gave birth to their vocal versions as in 12-0-12, which was titled Ingwe Idla Ngamabala. But the most interesting part was that there could be a track titled Taxi Jive No.1 followed by Taxi Jive 500 without having numbers 2 or 20." (Mojapelo)

Between 1969 and 1981 Phale recorded over twenty LPs including many with the Boyoyo Boys as well as a number of solo projects. He with his Teal colleague Lulu Masilela, also recorded with The Movers and can be heard on the classic, genre-defining album, Bump Jive (1974) and the best-selling, if not incredulous interpretation of Dollar Brands’ Manneburg, Repeat After Me (1976).

In 1985 Phale joined the very successful Soul Brothers and with their 13-piece band toured the globe. He also continued recording with the Boyoyo Boys and can be heard with Noise Khanyile on the 1988 LP, TJ Today (Boots, Rounder). Phale recorded his last solo LP, Phale Special, in 1991 and subsequently died in 2002.

Thomas Phale and Others

Sporo No. 4

Star Black

SKL 3010

(1979)

Mahlabathini and Izintombi Zephepha (1976)

This gem of an mbaqanga album follows up nicely from last week’s Satbel Special. It is the first recording Victor Zulu (aka Mahlabathini) did for Satbel. Zulu certainly fits into the same category as that most famous of groaners, Mahlatini, and recorded with many of the same female singers. Mahlabathini recorded prolifically for all the big labels for at least twelve years from 1969 onwards, starting with David Thekwane and Teal, then Satbel, EMI, on to Mavuthela and Gallo.

Victor Zulu aka Mahlabatini

In 1959 while still at school in Kwambonambi on the coast about 180kms north of Durban Zulu became well known for his composing and singing. In 1968 he moved to Johannesburg and sang with the “Watermelon Kids” at the Bantu Mens’ Social Centre. In 1969 David Thekwane arranged for Victor and Izinthombi Zephepha to record and perform together. They made their first recording for Satbel in 1975.

I asked Electric Jive’s walking encyclopedia of mbqanga (aka Nick Lotay) if he could recognise any of the women on the front cover.

“I can hear former Mahotella Queens member Nunu Maseko singing prominently as part of the chorus on the LP (she's the one who also solos in the middle of tracks 8 and 9), but she isn't on the front cover, and I don't recognise those who are photographed. (Some bloody great tunes on the LP by the way! Track 7 is a cracker.)

“Nunu Maseko joined Zephepha at the same time Zephepha moved to Satbel and seemingly became their leader. Mahlabathini was at EMI in 1977, and at Mavuthela in 1980. He recorded some singles with the Mahotella Queens in late 1980. He then went to GRC/Isibaya in 1981. Not sure what happened to him after that.

“Judging by the singing patterns and vocalists present, I'd say that Izintombi Zephepha is the same girl group as Teal's Amagagu Yodumo - my guess is that they split from Mahlabathini and went back to Teal in 1976, and changed their name in the process.”

So – there you have it, thanks Nick. Do enjoy this crisp and clear recording. Thanks Geri for reconnecting me to an old friend.

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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

Phezulu Eqhudeni: Motella's finest (1975)

The international re-issue of this gem of an album by Earthworks in 1984 was an important first in a series of signals to the local industry that mbaqanga music may have a global future, despite its popular decline in South Africa. In 1986 Paul Simon’s Graceland and Harry Belafonte’s Paradise in Gazankulu drew heavily on South African artists, and further showcased mbaqanga music to the world.

West Nkosi saw the gap and cut a demo with Makhona Tsohle and the Mahotella Queens. The tape caught Gallo executive Geoff Paynter’s ears and he invited them to play at a function at which two French record executives were also present. One thing led to another, and the musicians embarked upon an international touring career, including playing at the Nelson Mandela Birthday Concert in Wembley Stadium in 1988, and then to a crowd of half a million in Central Park in New York in 1991. You can read the full story and more in Louise Meintjies’ wonderful book” “Sound of Africa! Making Music Zulu in a South African Studio”.

The Earthworks Cover

It is an interesting aside that Earthworks’ marketing people decided to use a different cover. Personally, I much prefer the original. The re-issue label provides what I understand to be an inaccurate translation of the words “Phezulu Eqhudeni”, claiming it to mean on top of a mountain with the name 'Eqhudeni'. The literal translation is: on top of  (better than) the rooster (that wakes you up).

EJ visitor Manzo Khulu sent us a mail on the translation issue:

"I picked up a point that I think I could perhaps also comment on. Indeed while ‘iqhude’ is Zulu for ‘rooster’, in this context the word refers to a hill/mountain whose structure is reminiscent of  the head of a rooster – hence named Eqhudeni. Some of the musicians may have originated from this general area, e.g. Abafana Baseqhudeni (Boys from Eqhudeni)." (Thanks Manzo).

This album presents a sublime compilation from the halcyon days of Motella’s finest.  I am confident you will enjoy it.

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