Classic mbaqanga: Indoda Mahlathini (1969)

Today, Electric Jive is proud to present another compilation of hit singles from the days when mbaqanga was the sound of the townships - Indoda Mahlathini, released in 1969 on the Motella label, is a twelve-song LP that features some of the best-selling Mavuthela material of the past year. As is normally the case with this kind of record, the listener will find that they simply must get up and start grooving to the great vocal jive sounds offered here.

Although this LP bears his identity, it is rather interesting that Simon ‘Mahlathini’ Nkabinde appears only on four of the twelve songs! This particular time period was the absolute peak of Mahlathini’s popularity. The rightful king of all the groaners, this crowd-puller was the only singing star who attracted fans from right across the board – kids as young as ten would attend his shows, as well as elderly people who scrambled to the halls in their walking frames. It is obvious that the compilers of this album wanted to capitalise on Mahlathini’s enormous success by using his renowned moniker as the title of this record. The King’s bellowing groans can be heard on his solo numbers “Imbodlomane” and “Gabi Gabi”, as well as “Sengibuya Emarabini” which is recorded with the Mahotella Queens and “Akashaywa Umfazi” by the Sweet Home Dames.

From Mavuthela’s start back in 1964, the same team of ten (or so) female singers had recorded under the various group names dreamed up by Rupert Bopape. Following the recruitment of more singers during 1965, Bopape took one of the names and built it up into a regular recording and touring line-up: the Mthunzini Girls (Julia Yende, Windy Sibeko, Teddy Nkutha and Virginia Teffo) were the junior group of singers. The Girls also recorded under a second name, Izingane Zo Mgqashiyo. The senior female group at Mavuthela performed and recorded as the Mahotella Queens, but also cut records under various other (non-touring) names including Izintombi Zo Mgqashiyo, Marula Boom Stars, Soweto Stars and Sweet Home Dames. Some of these names were interchangeable, and it is not unusual to listen to a record credited to the Sweet Home Dames but featuring the voices of the Mthunzini Girls (or vice versa).

“Jive Didiza” was one of the Mthunzini Girls’ biggest-selling hits of the late 1960s. Possibly recorded as Mavuthela’s answer to the rival Izintombi Zesi Manje Manje’s celebrated 1967 top seller “Isidudla sika Joseph”, this number features the robust lead vocals of Yende who sings “siyatshitshizela, isidudla sikaMahlathini” (we’re moving like young girls, Mahlathini’s big women)! “Tete Muka No. 2” is a song that has an amazingly crazy guitar intro and a fast-paced beat that just won’t quit – and that’s definitely not a bad thing. The group’s other track on this LP is the wonderfully rumba-tastic “Sangena, Sangena”, a driving and dynamic number that happens to be my favourite one. The late Windy Sibeko’s distinctive alto voice can be clearly heard on these two classics.

The senior Mavuthela female group appears on four tracks on Indoda Mahlathini. One of them, “Sengibuya Emarabini”, uses the familiar and famous Mahotella Queens name. The usual rhythmic mgqashiyo beat works its magic in this lovely number composed by Rupert Bopape and Marks Mankwane. The other three numbers are credited to the Sweet Home Dames and feature the normal Mahotella line-up of the day, including Mildred Mangxola (who recently retired from the current line-up of the group in 2013), Juliet Mazamisa, Ethel Mngomezulu, Thoko Nontsontwa and Nobesuthu Shawe. Mangxola’s two compositions, “Yeka Amanga” and “Akashaywa Umfazi”, are yet another couple of examples of solid girl group harmony. Another gem is Shawe’s composition “Dumazile”, the complicated tale of a couple of lovers.

Later into the 1960s, with more young female vocalists joining the roster, Bopape took another of the pseudonyms used by the senior group and built up a third unit of junior singers. The Dima Sisters, who appear on three songs, included Sheba Malgas, Mavis Maseko, Nancy Ngema and Julia Ngubane. Various Mavuthela staff including Shadrack Piliso, Ellison Themba and the two Lerole brothers contributed to the group’s material. Following the departures of several vocalists in the early 1970s after a salary disagreement, the most talented singers in the lower-ranking Mavuthela groups were promoted into the senior Mahotella Queens line-up. Several Izintombi Zomoya members joined the frontline of the Queens, with two of the Dima Sisters also coming on board – Nancy Ngema and Sheba Malgas.

While you’re waiting for this LP to download, you’d best get your dancing shoes ready and get ready to do some heavy jive mgqashiyo until you drop. Enjoy!

VARIOUS

INDODA MAHLATHINI

produced by Rupert Bopape

Motella LMO 110

1969

Vocal Jive

RS / MF

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

Music and Rhythms of Africa Vol. 2 (c1958)

Today we continue the series on interesting EPs. I recently came across this double disc gatefold 45 and was struck by how eclectic the eight tracks were on the compilation. The first four cover what has been termed "traditional" music and the remaining are a number of vocal jive and kwela hits from around 1958. It is the "traditional" music that I found most striking, especially the tracks by Veshna Dinaka which, to my ear, come across as quite dissonant and sound remarkably contemporary and almost avant-garde. Likewise the two tunes featuring autoharp or dipela are equally arresting.

The second disc couldn't be more of a contrast opening with the jazzy vocal number, Thimela, composed by Elijah Nkwanyane and performed by Philemon Mokgosi and his Inkspots. (I believe Nkwanyane is on trumpet.)  What follows must be one of the first recordings by the Dark City Sisters, Bra-Cabbage, penned by Rupert Bopape and accompanied by the pennywhistle group Black Mambazo (not LBM). Interestingly the liner notes reveal that the Dark City Sisters recorded this tune "spontaneously" after they just happened to come with their "boy-friends", the members of Black Mambazo, to the studio that day.

Below are some excerpts from the rather dry liner notes:

[...] "MADIKOTI and PHALA BORWA are played on an unusual instrument known as "Dipela", which is an African traditional piano or autoharp. It is made of beaten wire which is flattened and fitted on to a wooden board and sometimes this is placed in a large calabash (gourd) or tin, to make it sound louder. The instrument is played only with the tips of the fingers. WILLIAM MALAETSE, who plays PHALA BORWA besides playing the autoharp, also wears "Mathotsi" on his legs and dances around while he is playing. (Mathotsi are similar to maracas.)"

[...] "THE AFRICAN INKSPOTS are one of the best vocal groups in the country. Their leader PHILEMON MOKGOSI is the driving force behind the group, he is a born artist, and has appeared on stage, screen and radio in South Africa. He has a voice very similar to that of our old friend Nat "King" Cole. Philemon is an extremely talented composer, with many song hits to his credit. Given the opportunity he could develop into one of the world's finest "pop" vocalists. THE AFRICAN INKSPOTS with PHILEMON MOKGOSI do a terrific job on this disc with "THIMLELA"."

"The DARK CITY SISTERS, a group of young girls who came with their boy-friends, a penny whistle flute group called the Black Mambazo, to our Recording Studio, just to look on, and unable to resist themselves they spontaneously burst into song to the accompaniment of the flutes and BRA-CABBAGE is the result. A happy little tune about the fun they have at the Zoo on a Sunday afternoon." [...]

Music and Rhythms of Africa Vol. 2

HMV, EYJ 103/104 (c1958)

1) Vesha Dinaka
Lexowa (traditional)

2) Dipela Tsabapedi
Madikoti (traditional)

3) William Malaetse
Phala Borwa (traditional)

4) Vesha Dinaka
Lexalani (traditional)

5) Philemon Mokgosi and the African Inkspots
Thimela (E. Nkwanyane)

6) Dark City Sisters acc. Black Mambazo
Bra-Cabbage (R. Bopape)

7) Thandi Kumalo
Ithemba Lami (T. Kumalo)

8) Midnite Harmoneers
Isangoma (J. Nhlapo)