Classic Mbaqanga Girl Groups - Vol. 4

ABOVE - IZINTOMBI ZESI MANJE MANJE IN 1975.

CLOCKWISE FROM TOP LEFT: LINDIWE MTHEMBU, JANE DLAMINI, NOBESUTHU SHAWE, RUTH MAFUXWANA

Collecting records from the glory days of black South African music invariably results in the accumulation of “factory-line stuff”. It is something inherent within mbaqanga music, which was as quick to produce as the traditional snack it was named after. But very often, that factory-line material would be intercepted. The individual talents and geniuses of the wonderful musicians in the studio would collide spectacularly and explode. The results of that explosion were stunning masterpieces that blended superb vocal harmony and sumptuous guitar rhythm together seamlessly. It is these masterpieces that Electric Jive presents here proudly today – the fourth installment of our regular series, Classic Mbaqanga Girl Groups.

“Awuthule Bo”, recorded in 1970, is one of the classic hits from the Mahotella Queens repertoire during their most successful era. Nobesuthu Shawe, one of the group’s regular vocalists and the composer of this song, tells her baby through fabulous high-spirited jive to listen to mother and quieten down. The ladies’ 1967 tune “Umuzwa Ngedwa” is an oddity because of its unusual swing-like melody, a throwback to the styles that their brand of mbaqanga had replaced. On the other hand, “Metsoalle Yaka”, is a deeply soul-infused 1970s number with some crazy-brilliant vocal work, featuring the golden voices of Thandi Radebe, Beatrice Ngcobo, Emily Zwane, Thandi Nkosi, Constance Ngema and Caroline Kapentar. The Mahotella Queens was perhaps the finest example of a truly classic mbaqanga girl group. The harmonies blended perfectly, the songs – either based on themes of love, folklore or topical matters – were always relevant, and the essential instrumental backup from the Makgona Tsohle Band was as raw and emotive as possible. Just one listen to their selections in this compilation certainly does go some way towards confirming those statements.

While the Mahotella Queens was the first group on the scene to pioneer the new, more electric-led female vocal jive of the mid-1960s, they were certainly not the only team of singers to shoot to stardom with beautiful recordings. Izintombi Zesi Manje Manje arose some three years after the Queens had already bedded into the market as the most successful female group of the 1960s, but this wasn’t going to deter Sannah Mnguni and her fellow songbirds, Thopi Mnguni, Thoko Khumalo and Nunu Maseko, from challenging the Queens for the crown. “Salani Kahle” spotlights Sannah’s beautiful vocal talent against the solid rhythm of the group. Along with the likes of mbaqanga vocalists such as Hilda Tloubatla, Irene Mawela, Olive Masinga and Julia Yende, Sannah possessed a voice that was instantly recognisable no matter which group she recorded with. She had left Izintombi Zesi Manje Manje in 1968, moving to the famous and well-known girl group the Sweet Sixteens which was led by Irene. Although Sannah did record some enchanting, hypnotic tunes with the group like “Uthuleleni”, she decided to return to Izintombi in 1970, bringing with her a junior Sweet Sixteen, Jane Dlamini. In 1972, the Izintombi line-up was thrown into jeopardy when the core members of the team resigned. Sannah, Thopi and Thoko – as well as lead guitarist Hansford Mthembu, Thopi’s husband – left the company and joined EMI, where they formed a successful new mbaqanga girl group called Amagugu. It remained a popular act until the early 1980s, when changing musical tastes brought an end to the dominance of the mbaqanga girl group. Izintombi Zesi Manje Manje retained its popularity through the early 1970s with a revised line-up: Jane Dlamini was joined by Nobesuthu Shawe (joining Isibaya after four years with Mavuthela’s Mahotella Queens), Beatrice Ngcobo (who was to depart the group soon and join the Mahotella Queens later in 1973), Lindiwe Mthembu and Ruth Mafuxwana. “Siya Kwa Mzilikazi”, featuring Izintombi’s regular groaner Saul Shabalala, was one of the many hits recorded by this newer incarnation of the group. "Sicela Indlela", another tune of similar vintage, sounds so carefree and laidback that it's almost as if the ladies are jamming with each other at a rehearsal.

During the mid-to-late 1960s, Mavuthela Music’s roster expanded so that set units of female singers were formed, utilising many of the names originated by Rupert Bopape back in 1964, and arranged almost in a hierarchy: the so-called “top tier” was the group that recorded under the names Mahotella Queens, Marula Boom Stars, Soweto Stars, Dima Sisters, Izintombi Zomgqashiyo, and the Sweet Home Dames. A second regular unit, featuring the voices of singers such as Julia Yende and Windy Sibeko, recorded under names including the Mthunzini Girls and Izingane Zomgqashiyo. “Sangena, Sangena” is an infectiously loud tune that has a slight-rumba feel to the rhythm – and a melodica is included in the band for good measure! On the other hand, “Akashaywa Umfazi” is the top tier at its best. Written by vocalist Mildred Mangxola and featuring Simon 'Mahlathini' Nkabinde on lead vocals, the song refers to physical abuse against women, although the song could be categorised as being more “classic mbaqanga” than “ballad”. Mangxola had joined Mavuthela in 1965 with her group, the Daveyton Sisters, with whom she had been singing since she was in her teens. The Sisters recorded some solid material for Mavuthela, but was to eventually disintegrate, with Mangxola and fellow Daveyton vocalist Thoko Nontsontwa joining the Mahotella Queens. Mangxola's wonderful, lively vocals can be heard prominently on "Akashaywa Umfazi", "Sengibuya Emarabini" (in which she has a very brief solo) and on an early tune with her old bandmates, "Ulele Emini U Makoti", a song composed by Makgona Tsohle Band drummer Lucky Monama.

After Mahlathini left Mavuthela in 1972 following a dispute over royalty payments with Rupert Bopape, he formed a new group called Amakhosazana which found some astonishing success as a performance-only group. This venture lasted only two years, after which the great groaner joined the new black music operation recently started at Satbel Record Company. Cambridge Matiwane, producer of the new subsidiary, busied himself building up a roster of artists to rival the material pumped out of the successful Mavuthela and Isibaya stables. Mahlathini preferred to work in conjunction with a female group, and although the Mahotella Queens remained the sole property of Gallo’s Mavuthela, a new group was formed at Satbel that was simply named The Queens. Pay disputes over at Gallo saw several of the Mavuthela singers move over to Satbel to record with Mahlathini. These included Koekie Makhanya, Mildred Mangxola, Ethel Mngomezulu and Thoko Nontsontwa. The Queens recorded some of the finest female vocal classics one can find. The raw passion and emotion came across in whatever song they sang, be it a ballad (“Siyaniduduza”, “Nginothando”) or a lively and boisterous tune (“Baratsale”, “Mhlobo Mdala”). Also at Satbel was Izintombi Zephepha, a group led by former Mahotella Queens and Izintombi Zesi Manje Manje vocalist Nunu Maseko. The group mostly recorded with singer Victor ‘Mahlabathini’ Zulu, a fine vocalist and groaner.

Mahlathini Nezintombi Zomgqashiyo (or “MNZ”) was a shortlived reunion between the groaner and five of the 1960s line-up of the Mahotella Queens. MNZ, which was put together by Marks Mankwane in 1983 on the back of a nostalgia trip for mbaqanga’s heyday, was named in that way so as not to disturb the Mahotella Queens line-up of that time, which had been stable for some years by that point. Interestingly, MNZ’s 1984 LP Pheletsong Ya Lerato features Mahlathini on only two of the ten tracks, making that particular album more or less an Izintombi Zomgqashiyo project. “Moradi Wa Mofokeng” is perhaps one of the finest songs produced by this line-up. Hilda Tloubatla, one of the most recognisable and popular lead vocalists of mbaqanga's heyday, leads the ensemble here, and the troupe's vocals are nothing short of strong, hearty and passionate. Backed by the unrelenting beat of the Makgona Tsohle Band, this certainly is the “A” team performing at its very best. While Mahlathini Nezintombi Zomgqashiyo busied themselves recording some of their best new material since the 1960s, the latter-day Mahotella Queens led by Emily Zwane solidly carried on recording the wonderful, sturdy, easy-listening material they were famous for. “Moleko Ntlohele” is a rich, watery ballad that spotlights their beautiful, soulful and emotive voices.

Thanks to Siemon Allen for contributing the Mahotella Queens songs “Awuthule Bo” and “Metsoalle Yaka”, and to Chris Albertyn for the equally wonderful songs from the Sweet Sixteens and Mahlabathini. I’m very grateful to both of you for your help in adding to this collection of classic, wonderful jive…

…and now, it’s over to the girls for another dose of goodness from the archives of yesteryear. I sincerely hope you download and enjoy.

YEBO!

CLASSIC MBAQANGA GIRL GROUPS
COMPILED BY NICK LOTAY
VOLUME 4

1. Awuthule Bo*
Mahotella Queens
Gumba Gumba BL 123
1970
FROM THE LP "BEST OF THE MAHOTELLA QUEENS"
*COURTESY OF SIEMON ALLEN

2. Sangena, Sangena
Izingane Zo Mgqashiyo
Motella LMO 110
1968
FROM THE LP "INDODA MAHLATHINI"

3. Salani Kahle
Izintombi Zesi Manje Manje
CBS CB.4007
1971

4. Mmathobela
Mahotella Queens
Gumba Gumba MGG 716
1977

5. Uthuleleni*
Sweet Sixteens
Troubadour SPA 892
1969
*COURTESY OF CHRIS ALBERTYN

6. Siyaniduduza
The Queens
Soweto SWB 136
1974

7. Siya Kwa Mzilikazi
Izintombi Zesi Manje Manje
CBS LAB 4042
1973
FROM THE LP "SIYA EMSHADWENI"

8. Umuzwa Ngedwa
Mahotella Queens
Smanje Manje SJM 7-5
1967

9. Akashaywa Umfazi
Sweet Home Dames
Motella LMO 110
1968
FROM THE LP "INDODA MAHLATHINI"

10. Baratsale
The Queens and Ndlondlo Bashise Band
King KGB 034
1976

11. Metsoalle Yaka*
Mahotella Queens
Gumba Gumba BL 123
1977
FROM THE LP "BEST OF MAHOTELLA QUEENS"
*COURTESY OF SIEMON ALLEN

12. Mathamyizimimyaba*
Izintombi Zephepha
Soweto SWB 14019
1976
FROM THE LP "MAHLABATHINI AND IZINTOMBI ZEPHEPHA"
*COURTESY OF CHRIS ALBERTYN

13. Musu Dlala Ngami
Mahlabathini
King KGB 006
1976

14. Iminyaka Kayifani
Izintombi Zesi Manje Manje
Masterpiece LMS 529
1977
FROM THE LP "IMINYAKA KAYIFANI"

15. Maile
Mahotella Queens
Gumba Gumba BL 226
1980
FROM THE LP "TSAMAYA MORATUOA"

16. Moradi Wa Mofokeng
Izintombi Zomgqashiyo
Gumba Gumba BL 457
1984
FROM THE LP "PHELETSONG YA LERATO"

17. Moleko Ntlohele
Mahotella Queens
Hit Special IAL 4005
1984
FROM THE LP "KHWATHA O MONE"

18. Vulamehlo
S'morden Girls
Masterpiece MS 508
1980

19. Sidlala Yonke Imidlalo
Izintombi Zesi Manje Manje
Masterpiece LMS 529
1977
FROM THE LP "IMINYAKA KAYIFANI"

20. Ha Bo Tle
Mahotella Queens
Gumba Gumba BL 226
1980
FROM THE LP "TSAMAYA MORATUOA"

21. Sikhulekile*
Mahlabathini and Izintombi Zephepha
Soweto SWB 14019
1976
FROM THE LP "MAHLABATHINI AND IZINTOMBI ZEPHEPHA"
*COURTESY OF CHRIS ALBERTYN

22. Nimzwile Umntimande*
Sannah Mnguni Nesimanjemanje
CBS AB 284
1971
*COURTESY OF CHRIS ALBERTYN

23. Nginothando
The Queens and Ndlondlo Bashise Band
King KGB 034
1976

24. Awungifanelanga*
Sweet Sixteens
Troubadour SPA 892
1969
*COURTESY OF CHRIS ALBERTYN

25. Hole Thaba
Dark City Sisters
HMV JP.1002
1966
FROM THE LP "STARTIME VOL. 3"

26. Ulele Emini U Makoti
Daveyton Sisters
Gallo-USA USA 320
1965

27. Sicela Indlela
Izintombi Zesi Manje Manje
CBS LAB 4042
1973
FROM THE LP "SIYA EMSHADWENI"

28. Uyangizungeza Lombemu
Usizwe Namatshitshi
CBS LAB 4022
1971
FROM THE LP "NOMA UNGAYAPHI BAKHALA NGATHI"

29. Mhlobo Mdala
The Queens and Ndlondlo Bashise Band
King KGB 035
1976

30. Sengibuya Emarabini
Mahotella Queens
Motella LMO 110
1968
FROM THE LP "INDODA MAHLATHINI"

RS / MF

ABOVE - IZINTOMBI ZESI MANJE MANJE IN THE STUDIO IN 1976.

FROM LEFT TO RIGHT: LINDIWE MTHEMBU, JANE DLAMINI, RUTH MAFUXWANA, NOBESUTHU SHAWE AND HILDA TLOUBATLA

R.I.P. Beatrice Ngcobo

Electric Jive has recently learnt of the tragic passing of one of the former members of the Mahotella Queens. We pay our respects to the late Beatrice Ngcobo today with a short post reflecting on her life and career.

Beatrice was born in Umbumbulu, Durban on 25 October 1944. Unlike so many other singers of her era, she was not born in a musical family, but she did sing in a school choir, developing a distinctly rich and smooth alto voice. Beatrice’s family was hit hard by the death of her father in 1955, and Beatrice was subsequently unable to complete her school studies because of the high costs involved. Her school had, however, helped to give Beatrice a great love for music. She started singing in her teens in and around Durban with various girl groups, and was eventually discovered by promoter Roxy Jila in the late 1960s. Beatrice was soon cast in his play Chief Mamba, performing on stage in an acting role for the first time in her career and without any prior training. She latterly recalled to Electric Jive the exciting buzz of performing for audiences every night.

Beatrice was still performing in Durban with Jila’s company when singer John Moriri and guitarist Marks Mankwane turned up at a showing of Chief Mamba in 1971. The two artists, both of them in-house musicians for Gallo Africa’s Mavuthela Music Company, had travelled from Johannesburg to Durban in search of female singers for Moriri’s then-backing group, Mthunzini Girls, which had recently split. Moriri and the Mthunzini Girls had a number of pending shows booked in Malawi, meaning replacement girls had to be found in time. Moriri and Mankwane were immediately taken with Beatrice’s performance and invited her to become the lead singer of the Mthunzini Girls. An excited Beatrice gladly accepted their offer and awaited the arrival of special transport from Durban to Johannesburg organised by Mavuthela bassist Joseph Makwela. In addition to Beatrice as lead singer and John Moriri as the male soloist, the other Mthunzini Girls were Olive Masinga, Whyte Mkhulisi, Julia Ngubane, Beauty Radebe and Phyllis Zwane.

Beatrice’s first composition as a recording artist was “Njomane”, a song that became something of an anthem for schoolchildren back home in Durban through constant airplay on Radio Zulu. Soon after recording the hit, Moriri and the Mthunzini Girls travelled to Malawi to perform. While there, Beatrice realised she was pregnant and decided to return home to her mother in Durban. She gave birth to her son Bongani in late 1971, spending a very short three months at home before rushing back to Johannesburg in the name of music, leaving Bongani in the care of her own mother. When Beatrice arrived back at the Gallo studios in March 1972, neither Moriri nor the Mthunzini Girls could be found. She discovered that when Moriri and the rest of the girls finished the Malawi tour and arrived back in Johannesburg, Mavuthela boss Rupert Bopape had refused to give them their wages, saying that he didn’t have the necessary money to pay them. Moriri and the rest of the girls resigned in protest. At the same time, Mahlathini and several of the Mahotella Queens quit in a similar dispute with Bopape over touring salaries. Bopape and Marks Mankwane decided to rebuild the Mahotella Queens and let the Mthunzini Girls name perish, simply because Mahotella was the more popular and well-known name. Beatrice found herself being recruited into the biggest female mbaqanga group of the day and was ecstatic. In 1973, she performed on stage for the first time as a Mahotella Queen when the group travelled a long distance to perform in Molepolole, Botswana. The line-up, then consisting of Hilda Tloubatla, Caroline Kapentar, Beatrice Ngcobo, Nancy Ngema, Thandi Nkosi and Thandi Radebe, performed in the local town hall as well as various other places including a chief’s kraal.

MAHOTELLA QUEENS, 1979
Clockwise from top left: Caroline Kapentar, Nomsa Njakazi,
Beatrice Ngcobo, Emily Zwane, Thandi Nkosi

Beatrice recorded and performed with the Queens throughout the 1970s and also composed a number of their hit songs. Most of her compositions were based on events that happened in her own life. She wrote “Uxoshisa Abanye” after rumours began spreading throughout Mavuthela that Ray Mkize (Abafana Baseqhudeni member and one of Mavuthela's Public Relations Officers) wanted to get Beatrice fired for no apparent reason. Lead singer Emily Zwane takes Beatrice’s song to a high plateau with her sweet soprano. Another composition, “Sengidlala Amakhehla”, told the story of Beatrice’s love affair with a much older gentleman who eventually broke her heart. Her song “Bongani Mntanami” was one very close to her heart. Beatrice would return home to Durban to care for her son Bongani as often as her bosses would allow, but while busy working in Johannesburg, her ageing mother would often complain over the phone to Beatrice about Bongani’s mischievousness and bad behaviour towards her. Beatrice decided to teach her son a lesson by writing a song for him, telling him through loving lyrics to respect his family and stop misbehaving. Although Emily Zwane sang lead on most of the Mahotella Queens recordings of the 1970s and 1980s, Beatrice was allowed to do the lead vocals on some of the hits including "Izinyembezi Zesuliwe", “Malume” and “Isidwaba”. Emily and Beatrice share the lead vocal duties on a track they wrote together - "Kobanini Ngihlupheka".

BEATRICE as seen in Jeremy Marre's
Rhythm of Resistance

Beatrice was still a prominent member of the Mahotella Queens line-up when English filmmakers visited South Africa hoping to film the group: first was Jeremy Marre in 1978, who filmed a Mahotella Queens stage performance for his documentary on black South African music, Rhythm of Resistance; and then a BBC team who were making a documentary about the music and influences of Hugh Masekela in 1984. In the latter documentary – broadcast only once on BBC2 in May 1985 – the Mahotella Queens (by now consisting only of Emily Zwane, Caroline Kapentar and Beatrice Ngcobo) performed their recent smash hit single “O Boshako” accompanied by accordionist Mzwandile David.

MAHOTELLA QUEENS performing
"O Boshako" in 1984
L to r: Emily Zwane, Caroline Kapentar,
Beatrice Ngcobo

Beatrice stuck with the Mahotella Queens even through a fallow period during the mid-1980s which saw the group leave the Gallo organisation for the first time in their career. A number of messy behind-the-scenes incidents led to Marks Mankwane, the producer of the Queens, resigning from Gallo and taking the group with him to a new independent label. The venture lasted for almost a year until they once again uprooted and moved over to local EMI subsidiary CCP. During this era, the popularity of the Queens declined significantly and Beatrice detected Marks Mankwane’s disillusionment with (and eventual resentment of) the group that had once sold out whole stadiums.

A number of musical projects during the early 1980s had increased international awareness of South African music. Some of these included Rhythm of Resistance, Malcolm McLaren’s Duck Rock, Duck Food, The Indestructible Beat of Soweto and Paul Simon’s Graceland. Marks Mankwane was persuaded by West Nkosi to rejoin Gallo and reunite Mahlathini and the Mahotella Queens for overseas performances. Mankwane duly agreed and began conducting rehearsals between Mahlathini and three of the original Mahotella Queens (Hilda Tloubatla, Nobesuthu Shawe and Mildred Mangxola), neglecting to inform Beatrice, Emily and Caroline, who were still recording and performing under the Mahotella Queens name. Beatrice and her bandmates found out only after spotting Hilda’s crew in another rehearsal room and were hurt by Mankwane’s deception. While Mankwane now busied himself with preparations for the reunited Mahotella line-up to visit the US and Europe, Beatrice and her bandmates were left dealing with the stigma of being unceremoniously fired and deprived of the opportunity to perform for audiences abroad.

During the 1990s, Beatrice and some of the former Mahotella Queens regrouped to perform under the same name for South African audiences, appearing at several local traditional music festivals and community halls. In order to avoid misunderstandings, they eventually decided to make a distinction between their group and the one touring the world with Mahlathini, tweaking their group name slightly to become X-Mahotella Queens (the ‘X’ obviously referring to ‘ex-’, as in ‘former’).

ABOVE: A snippet from a new recording by the X-Mahotella Queens, "Badla Inqondo"

X-MAHOTELLA QUEENS in 2011
L to r: Emily Zwane, Beatrice Ngcobo,
Thandi Nkosi, Caroline Kapentar

In 2011, a grouping of now-forgotten stars from mbaqanga’s past – including X-Mahotella Queens – united to form a non-governmental organisation called Omama Besxaxa Foundation. The foundation has held a number of successful shows and workshops in township halls across Johannesburg over the last three years, most recently holding an all-day show at San Kopano Hall in Alexandra in March 2014. The show featured a galaxy of stars including X-Mahotella Queens, Izintombi Zesimanjemanje, Izingane Zoma, John Moriri and the Manzini Girls, Isigqi and others. The show had been in the pipeline for months and Beatrice was looking forward to performing for audiences after so long. X-Mahotella Queens lead singer Emily Zwane had recently retired from performing, leaving Beatrice to step into the spotlight as leader for the first time in her career.

Tragically, Beatrice was knocked down and killed while visiting family in Durban in February 2014.

We at Electric Jive mourn the loss of a very special lady but give thanks that we were able to meet her and interview her at length about her wonderful career before her sudden passing. Life had dealt Beatrice some hard blows, including the sudden and untimely deaths of two of her four children and having to cope with extremely poor living conditions in her old age. But this was a woman who was blessed with enough strength to keep fighting in spite of the many obstacles in her way. Beatrice confirmed to us that she was happy and satisfied about the work she had done over four decades immersed in music, hoping that her life story would be valued in particular by the younger generation. We hope our humble tribute has done her proud.

Rest in peace, mam' Beatrice!

01) UXOSHISA ABANYE

02) DEMAZANA

03) ISIDWABA

04) MALUME

05) NGOTHINI NA?

06) BONGANI MNTANAMI

07) KETLARENG

08) SENGIDLALA AMAKHEHLA

09) KOBANINI NGIHLUPHEKA

10) IZINYEMBEZI ZESULIWE

My thanks to Matt for sharing two of the above songs, and a special acknowledgement to Norton Ramavhoya for giving so much of his time and efforts towards our mission - without his hard work, a tribute like this would simply not have been possible to compose. Thank you Norton!

MF

Classic Mbaqanga Girl Groups! - A Special EJ Mix

Continuing the mbaqanga theme (if you haven't already, see Chris Albertyn’s excellent post featuring, among others, West Nkosi, Reggie Msomi, the Mthunzini Girls, and a jive-tastic Nick Moyake), Electric Jive today presents another "EJ mix" of classic mbaqanga material – featuring tunes from some of the great female mbaqanga groups of the 1960s and the 1970s.

In the mix, we spotlight some well-known groups and vocalists. Here are a few insights into the artists that form the basis of today’s special posting.

Top of the list here at EJ is undoubtedly the Mahotella Queens (who also recorded as Soweto Stars, Izintombi Zo Mgqashiyo, Mahlokohloko Stars, Sweet Home Dames, and Dima Sisters), whose signature vocal and dance styles put them on the road to stardom during the mid-to-late 1960s. Backed by the Makhona Tsohle Band and fronted most of the time by their king, Simon “Mahlathini” Nkabinde, the Queens ruled supreme from 1964 until the late 1970s, when female groups – along with the popularity of mbaqanga generally – began to wane. More than thirty female singers have at one time constituted the line-up of the Mahotella Queens, though their stage appearances have never featured more than six ladies at a time. The more notable members over the years have included sopranos Hilda Tloubatla, Nunu Maseko, Emily Zwane and Thandi Nkosi, altos Juliet Mazamisa, Nobesuthu Shawe and Windy Sibeko, and tenors Mildred Mangxola and Caroline Kapentar among many others. The current line-up of the Queens contains three of the original 1960s team, and they continue to draw big audiences (particularly in Europe) to this day. See here for a much fuller history of the Queens, get the first Queens LP here, and see here for a special EJ mix devoted to Mahlathini.

Of equally significant importance is Izintombi Zesi Manje Manje, who were formed in 1967 as a rival team to the Queens. By the time Izintombi was formed, the Queens had set in stone their unique styling and were the yardstick by which other female mbaqanga groups were measured. But with a line-up that included – at various points – Sannah Mnguni, Nunu Maseko, Thoko Khumalo, Jane Dlamini, Nobesuthu Shawe and Lindiwe Mthembu – it wasn’t easy for the Mahotella Queens of the 1970s to keep up with Izintombi! The classic live line-up of the early 1970s was the trio of Jane Dlamini, Lindiwe Mthembu and Nobesuthu Shawe (stood on the stage in that order), but the recording line-up also featured Ruth Mafuxwana and Hilda Tloubatla in prominent voice. Izintombi Zesi Manje Manje members also recorded under the name S’Modern Girls. Along with the Mahotella Queens, Izintombi found it hard going to sustain their popularity into the 1980s, even with a revised sound. Two mushroomings of the original group still exist to this day but only on very small, local scales. Here is a collection of some of Izintombi’s best 1960s material, and here is a share of one of their late 1970s albums.

Julia Yende’s strong vocal talent rose her to the top. She started first with the Dark City Sisters in the early 1960s, and then in the Mahotella Queens from 1966. Her talent earned her the love of king Mahlathini and then, following a brief spell in the Queens recording and touring line-ups, a group of her own: the Mthunzini Girls (previously one of the loose pseudonyms used for the Queens).

Mthunzini Girls usually comprised Yende alongside Windy Sibeko, Thoko Mdlalose, Virginia Teffo and Teddy Nkutha in their 1960s heyday, but by the early 1970s, opened up to include Olive Masinga, Phyllis Zwane and Irene Mawela. Some of the more junior Mthunzini Girls members also recorded under the name Izingane Zo Mgqashiyo. Another notable group who also recorded under the Izingane Zo Mgqashiyo name is Izintombi Zomoya, featuring (most notably) Thandi Nkosi, Caroline Kapentar, Beatrice Ngcobo, Constance Ngema and Eunice Kwekwe – some of whom became talented enough to rise through the ranks and join the Mahotella Queens frontline in the late 1970s and early 1980s. See here for an excellent 1973 Izintombi Zomoya album.

By all means a first-rate act, the one and only Dark City Sisters were a vital part of the mbaqanga girl group scene of the 1960s. Formed in 1958 and quickly becoming South Africa’s most popular female group of the early ‘60s, the Sisters were at the forefront of the shift from the old marabi swing rhythms to the harder, sturdier and yet more traditional jive sound of the 1960s. At the helm of the group in spite of an ever-changing line-up was the sweet-voiced Joyce Mogatusi. Various groupings of the Sisters also recorded as the Killingstone Stars and the Flying Jazz Queens. Some of the most significant voices to grace the Sisters throughout the years aside from the great Mogatusi include Nunu Maseko, Esther Khoza, Grace Msika, Audrey Zwane, Doris Ntuli and Emily Zwane. After the formation of the Mahotella Queens and subsequent growth of Izintombi Zesi Manje Manje, the Sisters were forced to update their soft styling to the new, tough mbaqanga. The Sisters remained popular and active, but in the shadow of these new, younger groups. After a brief split in 1971, the group returned with Joyce at the helm in 1973.

The Sisters continued to record and perform until the early 1980s when they again split up. They were back again by the end of the decade, though, and recorded a comeback album in 1994 (which we hope to share with EJ readers sometime soon). The Sisters are still around in one form or another today, featuring the magic duo of Joyce Mogatusi and Grace Moeketsi (formerly Msika) – both of them still golden voices in their golden years. Here is a classic album of their very early (1960 – 1962) material.

Irene Mawela was seventeen years of age when Rupert Bopape saw her singing at a wedding in Limpopo. Impressed with her sweet, saccharine vocals, Bopape quickly brought her to Johannesburg (one assumes with Irene’s parents’ permission!) and so she began a lengthy career as a studio singer: first with Bopape at EMI (and in such legendary line-ups as the Dark City Sisters and the Killingstone Stars), then with Cuthbert Matumba at Troubadour, then under Daniel Makhubela at Trutone, and finally back with Bopape at Gallo’s Mavuthela in 1969. At the company she began recording with a small session quintet under the names Irene and the Sweet Melodians, and the Mgababa Queens. She also recorded her instantly recognisable voice onto hits by the Mthunzini Girls and Izintombi Zomoya, the lower-tier girl group line-ups. Bopape and Mawela grew close and, by the mid-1970s, were man and wife. Further into the 1970s, Bopape and Mawela began working together more closely in the studio – writing together and later on singing together. Mawela graduated up into the line-up of the Mahotella Queens around 1978, where she stayed for a few years before launching her own solo career.

Lastly, The Queens (not the Mahotella Queens!) were the tight band of female singers who backed Mahlathini at Satbel Record Company (from 1972 to 1977) and EMI (1978 to c. 1980). When Mahlathini left Gallo-Mavuthela in 1972, some of the Mahotella members followed him, creating the newly-formed The Queens. Most notably Mildred Mangxola (the leader of The Queens), Jane Makhanya, Nunu Maseko and Thoko Nontsontwa. The other singers included Paulina Zulu, Jane Twala, Belinda Sithole and Agnes Mhlauli. Although they primarily served as Mahlathini’s backing group, they sometimes recorded their own fantastic songs – two of the best are contained here.

The thirty wonderful tunes in this EJ mix were originally recorded between 1962 and 1977, at the height of mbaqanga's rule over the townships of South Africa. Tough guitar, pounding bass, growling basses, and sublime female close-harmony vocals. What more could one ask for?

Do yourself a favour... download this mix, listen to these fantastic grooves, and get ready to jive 'til you drop! YEBO!

Classic Mbaqanga Girl Groups!

1. THOKO - MAHOTELLA QUEENS (1964)

2. LALELA MNTANAMI - KILLINGSTONE STARS (1962)

3. UMKHWEKAZI - DARK CITY SISTERS (1962)

4. HAMBA PHEPHA LAMI - IZINTOMBI ZO MGQASHIYO (1967)

5. KHANYISANI ISIBANI - IZINTOMBI ZOMOYA (1973)

6. UMKHUMBI KA NOAH - IZINGANE ZO MGQASHIYO (1969)

7. ISINKWA NOBANANA - IZINTOMBI ZESI MANJE MANJE (1967)

8. SILANDELA UMGQASHIYO - MTHUNZINI GIRLS (1967)

9. MAKOMANE - DIMA SISTERS (1964)

10. WOZA MABALANE - MAHLOKOHLOKO STARS (1967)

11. UMAHLALA EHLATHINI - IZINTOMBI ZESI MANJE MANJE (1971)

12. HOLE THABA - DARK CITY SISTERS (1966)

13. EVELYN - KILLINGSTONE STARS (1962)

14. SPONONO - DARK CITY SISTERS (1967)

15. MMATHOBELA - MAHOTELLA QUEENS (1977)

16. IGAMA LAMI - IZINTOMBI ZOMOYA (1975)

17. REKENI KASE JUALEJUALE - S'MODERN GIRLS (1974)

18. MMADITABA - IRENE & THE SWEET MELODIANS (1975)

19. ISITIMELA - THE QUEENS (1976)

20. LETLAPA LABUTSOA - DARK CITY SISTERS (1974)

21. THAKA TSESO - IZINTOMBI ZOMOYA (1971)

22. DUMAZILE - SWEET HOME DAMES (1968)

23. ISALUKWAZI - IZINTOMBI ZESI MANJE MANJE (1967)

24. MMAMOKWANGTITI - DARK CITY SISTERS (1967)

25. AMAZONDO - MTHUNZINI GIRLS (1967)

26. NTSHWARELE NTATE - MAHOTELLA QUEENS (1975)

27. ZOLILE - THE QUEENS (1975)

28. AWUFUNI UKULANDELA NA? - S'MODERN GIRLS (1974)

29. EZOMCULO - DARK CITY SISTERS (1974)

30. SESHEGONG SAMELODI - DIMA SISTERS (1967)

RS / MF

Classic Mbaqanga Girl Groups - Vol. 5

Happy holidays! Electric Jive welcomes in Christmas week with a brand new volume of our popular Classic Mbaqanga Girl Groups series, delving into the music of South Africa's female groups of the 1960s and 1970s. In Volume 5 we take a look at the music of the Mahotella Queens, Mthunzini Girls, Jabavu Queens, Dima Sisters, Izintombi Zomoya, Manzini Girls, Dark City Sisters, Amagugu, Izintombi Zesi Manje Manje and other solid female ensembles from the mbaqanga era. What better way to celebrate the festivities? 

MAHOTELLA QUEENS

Our first song is "Mphemphe Yalapisa", a recording credited to the Dima Sisters but actually recorded by the pool of singers who toured live as the Mahotella Queens. Talent scout and producer Rupert Bopape usually devised several group names with the intention of creating a number of successful girl bands. From 1964, he had a team of session singers record under a variety of different 'band names' for Gallo's Mavuthela Music division, and after two massively successful singles released under the name Mahotella Queens, Bopape spend his time carefully building up a public profile and image for the group. Key to the publicity were close relationships with the influential African announcers on the SABC's Radio Bantu service: K.E. Masinga, Hubert Sishi and Winnie Mahlangu. The line-up of the Queens solidified for impending tour dates, but Bopape continued to recruit more singers to the group before splitting it into two distinct sections around 1967 - the first continued to tour and record with Mahlathini under the name Mahotella Queens (as well as recording under several other pseudonyms), and the other (newer) section recording and touring as the Mthunzini Girls with vocalist John Moriri. In 1968, Bopape took another of the Queens' recording names - the Dima Sisters - and built it into a fully fledged group, and on the practice continued for several more years. It was a shrewd, cunning move designed not only to fill the Mavuthela roster with a selection of top girl groups, but to keep a steady supply of singers flowing through the Gallo building when the walkouts occurred: Bopape would recruit singers in their late teens or early twenties - they were young, naive and easily led by a father figure. A master A&R man, producer and songwriter, Bopape was also a hugely corrupting force who kept his artists ensconced in what could be best described as cheap labour. As the young ladies grew up, they became aware that they were working hard for essentially nothing, so they quit - only for Bopape to replace them with younger, more naive singers.

Talk of harsh pay, busy schedules and strict leadership is associated with almost all of the African music producers, who besides Bopape included Strike Vilakazi of Trutone Records; Cuthbert Matumba of Troubadour Records; then later Hamilton Nzimande of GRC's Isibaya Esikhulu Music; David Thekwane of Teal Records; and West Nkosi of Mavuthela Music to name just some. Exploitation was part and parcel of the industry, especially where young, vulnerable women were concerned. Depending on a producer's personal preference, they were either daughter figures or lovers, and any money doled out from the boss was certainly kept to an absolute minimum. Occasionally producers would succeed in poaching musical stars from their rivals with promises of healthy pay packets and better working conditions - and of course, neither prospect actually materialised. The huge irony is that the sounds that these ensembles made constitute some of the most delightful, energetic and exuberant music ever put down on record. Repetitive cycles of electrifying, lilting guitar hooks; superb female harmonies that danced between smooth blended chorus to brazen wailing; and a solo lead male assuredly bellowing his way through the tunes. Girl groups and mbaqanga music were synonymous with each other as the genre became South Africa's own answer to the Motown sound for a period of nearly twenty years.

MTHUNZINI GIRLS

Though producers liked to stick to recording mbaqanga tunes in the languages that sold the best - isiZulu and Sesotho, the two languages that the lion's share of African consumers spoke - songs were sometimes composed in Pedi (Sesotho sa Leboa), Tswana and Venda to ensure quotas were met. "Ka Tatampela" by the Sweet Home Dames - actually the Mthunzini Girls featuring Virginia Teffo on lead vocal - is a fun, upbeat tune categorised as 'Pedi Vocal Jive' on the 45rpm label; "Emarabini" by the Mthunzini Girls - actually Izingane zo Mgqashiyo led by Beauty Radebe - is labelled as 'Swazi Vocal Jive'. "Emarabini" is more or less a straight cover (without a credit for the original composer!) of "Siyo Ba Bamba" by Joseph Mthimkhulu and The Space Queens. The latter tune - included on Ingwe Idla Ngamabala (CBS LAB 4005) which can be found here - was a huge hit of 1967 for Isibaya Esikhulu, the African division of Gramophone Record Company. Though Rupert Bopape was certainly one of the most successful and influential producers on the scene at the time, he was not the only one. By the 1970s, Hamilton Nzimande stood as the only other producer who actively challenged Mavuthela's crown.

SANNAH MNGUNI

At Isibaya Esikhulu, Nzimande carefully cultivated a hugely successful roster of excellent female vocalists, instrumental players, composers and arrangers. Izintombi Zesi Manje Manje was Nzimande's first major success. The girl group, which eventually became a vehicle for the raspy crooning of lead singer Sannah Mnguni, rose so high in prominence that the popularity battle was dominated only by two groups - itself and the Mahotella Queens. Both groups were capable of attracting a staggeringly phenomenal amount of fans who clamoured to township halls, theatres and football stadiums just to see the beautiful voices in person. Izintombi Zesi Manje Manje was supported by the excellent Saul Tshabalala as their groaner and Abafana Bentuthuko, the backing band led by the highly innovative lead guitarist Hansford Mthembu. Nzimande's Isibaya Esikhulu operation was so successful that it became the next port of call for artists who resigned from Mavuthela. The original Mthunzini Girls quit Mavuthela to become Izintombi Zentuthuko for Isibaya in 1969, but it wasn't the fairytale move that they had imagined, and pretty soon the act disintegrated. One of the singers, Windy Sibeko, stayed on for a while, multi-tracking her vocals for certain numbers such as "Mmona Oaka", released as the S'modern Girls. In 1972, most of the original Izintombi Zesi Manje Manje members (as well as Hansford Mthembu) suddenly quit the Isibaya stable. Sibeko followed them to EMI, where they started up a new, even greater chapter of their musical career as Amagugu Esimanje Manje.

MAHOTELLA QUEENS and the MAKGONA TSOHLE BAND

HILDA TLOUBATLA

Under the orchestration of producer Bopape and flanked by a team of ingenious songwriters, musical arrangers and instrumentalists, the Mahotella Queens produced a long, wonderful stream of high quality vocal jive singles from the mid-1960s to the late 1970s. The Queens, easily the country's leading mbaqanga group of the era, perhaps benefitted from three distinct elements. The first was Mahlathini, hailed in the townships as 'Indoda Mahlathini' ('Mahlathini the main man'), a thoroughly decent and humble personality who possessed a showstopping stage persona and impressive vocal rawness. The second was Hilda Tloubatla, who Bopape positioned as the main lead singer of the Queens during its early days in 1964. Tloubatla possessed a reassuringly smooth, deeply resonant and thick vibrato-heavy vocal, a beautiful sound that clearly screamed 'Mahotella Queens' to every Radio Bantu listener. The third was the Makgona Tsohle Band. Marks Mankwane was not only the group's acclaimed lead guitarist, he was also the principal musical arranger of the Queens' music. He applied hundreds of melodies, all of them fresh and new and not one like another, to the lyrics written by the group's members, ensuring every Mahotella release was crafted to perfection. "Shaluza Max", recorded by the Queens in 1969, is a contorted celebration of Marks' talent. In 1973's sublime "Abaculi Bethu", the guitar wizard's abilities (as well as the talents of the other Makgona Tsohle Band members) are celebrated more openly. Queens' alto vocalist Juliet Mazamisa is the composer of "Madulo", recorded alongside "Shaluza Max" in 1969 and later covered by the legendary Letta Mbulu for her album Culani Nami.

It's obvious that with the success of these big groups, young women were influenced into forming their own groups and moving up to Johannesburg to try out their luck. The Temptation Kids were a group of singers trained by vocalist, producer and impresario Roxy Jila who brought them up to Johannesburg from Durban around 1970 to record for Mavuthela. Inevitably, the lure of a luxury lifestyle, big pay-packets and plenty of public appearances sent the Kids on their merry way to a rival producer, a move that both left Jila miffed and the Kids completely empty handed. One of the gems from their shortlived career was "Mamezala", a strident up-tempo vocal jive describing the emotions felt by all when a young bride leaves her home after she is married.

AMAGUGU ESIMANJE MANJE

“Kumnandi Ezayoni”, recorded by The Pride in 1976, is an odd one. From a musical perspective, the tune is not a traditional masterpiece but deserves inclusion simply because of its intriguing all-star line-up: the groaner is Mthunzi Malinga from Isibaya Esikhulu; the lead guitarist and arranger is Hansford Mthembu from EMI; the backing band is Mthembu's troupe Intuthuko Brothers from EMI; and the vocalists are a mixture of Izintombi Zesi Manje Manje and Amagugu members. All of these artists were under contract to their respective companies during the recording of this and other songs for Mavuthela's Smanje Manje label (the name ‘The Pride’ references the English translation of ‘Amagugu’). So-called ‘underground’ sessions for rival producers and companies were actually commonplace in the industry during this era - the artists had to eke out a living somehow - but it's unusual that both Malinga, Mthembu and manager/arranger Titus Masikane are all given open and honest credit on the 45rpm label rather than fictional pseudonyms as would be the norm. One wonders if they were reprimanded by their EMI bosses. Amagugu continued to record for the company for another four more years before they moved over to WEA, then back to EMI, then disbanded for good.

Four tracks in this compilation are from Izintombi Zomoya, one of Mavuthela's junior female ensembles arguably used by the bosses as a 'testing ground' for new vocalists. But during the early 1970s, the group - backed by the Zwino Zwino Boys, 'Zwino Zwino' being Venda for 'now now!' - began to develop some real attention for the first time. Thandi Nkosi was the face of the group for a while until she was promoted to the Mahotella Queens in 1972. She was replaced by Irene Mawela, whose voice glides sweetly and gracefully over the groans of Robert 'Mbazo' Mkhize and the other singers in "Siphum' Enyakatho" and "Igama Lami (Libizw'emoyeni)". In 1975, the line-up was reshuffled again and Irene began to make recordings under her own name for the first name. Her position in Izintombi Zomoya was taken by Julia Yende, who had recently returned to Mavuthela after several years (she had been the original lead singer of the Mthunzini Girls until 1969). "Sponono Ngiyeke" highlights her mournful, bittersweet lead voice.

IZINTOMBI ZOMOYA

After Yende and the other Mthunzini Girls walked out in 1969, Mavuthela replaced them with an entirely new line-up. The same pattern repeated itself in 1971 as a new third incarnation led by Beatrice Ngcobo started recording under the name. That third incarnation quit in 1972 after being denied their touring fees and found a new recording home at Satbel Record Company in 1973. Under producer C.B. Matiwane, John Moriri and the newly-named Manzini Girls set to work recreating the magic they had worked up in the Gallo studios, complete with lead guitarist George Mangxola and the renamed Soweto Boys. For some of their recordings, they were joined by former Mahotella Queens singer Juliet Mazamisa, whose creative compositions gave Moriri and the Manzini Girls some golden hits including "Baqhubi Bezimoto". Things seemed rosy for a while - Moriri and the Manzini Girls' 1975 single "Isikhova" sold four gold discs and two platinums - but astonishing sales figures do not necessarily translate into fortune for the music makers, and by 1976 they had had enough of Satbel and quit to join WEA's new African operation led by guitarist-producer Almon Memela. It was around this time that the popularity of vocal jive groups began to decline for the very first time. In desperate attempts to keep their groups relevant, producers reworked the mbaqanga format by introducing a keyboard into the band and changing the rhythm patterns to create a new sort of 'disco jive' sound. "Basali Basejoale Joale" by Izintombi Zesi Manje Manje represents a sort of 'last gasp' of the original sound, featuring two guitars - lead and rhythm - competing for the spotlight along with the obligatory organ. "Otla Ntswarela" by the Mahotella Queens is even more distinctly soul-infused, but strangely manages to create that new feel without even a trace of organ or electric piano. If one must choose a favourite from this strange era, "Woza Ungilande" by Izintombi Zomoya - complete with yet another new line-up led by Joana Thango - would have to be mine. It carries an effervescent arrangement seemingly at odds with the solemn lyrical themes of prayer and church.

Mbaqanga girl groups continued to enjoy relevance and popularity for several more years until they were finally eclipsed, first by all-male mbaqanga line-ups, then the solo stars of bubblegum music in the early 1980s. The joyous sounds of mbaqanga music vanished from the pop scene without trace. But the memorable music still exists, buried under the rubble, waiting to be fished out, cleaned up and preserved for eternity. Classic Mbaqanga Girl Groups - Vol. 5 presents a selection of 30 female mbaqanga vocal classics from the era when the genre ruled the airwaves. Hit the download link and be prepared to do some serious jiving. YEBO! :-)

CLASSIC MBAQANGA GIRL GROUPS - VOL. 5
COMPILED BY NICK LOTAY

01) DIMA SISTERS – MPHEMPHE YALAPISA (1967)

02) SWEET HOME DAMES – KA TATAMPELA (1968)

03) MTHUNZINI GIRLS – EMARABINI (1968)

04) MAHOTELLA QUEENS – MADULO (1969)

05) MAHLATHINI AND IZINTOMBI ZOMGQASHIYO – HAMBA MINYAKA (1970)

06) S’MODERN GIRLS – MMONA OAKA (1971)

07) DIMA SISTERS – SUKUNDI JEMULA (1969)

08) JABAVU QUEENS – SIDEDELENI (1968)

09) MAHOTELLA QUEENS – SHALUZA MAX (1969)

10) IZINTOMBI ZOMGQASHIYO – NAMHLA KUNGAMI (1970)

11) MASHALASHALA GIRLS – YANGENA INSIZWA (1971)

12) MAHOTELLA QUEENS – LESELESELE (1972)

13) TEMPTATION KIDS – MAMEZALA (1971)

14) MTHUNZINI GIRLS – SANGENA, SANGENA (1973)

15) DIMA SISTERS – BANTWANYANA AWU (1972)

16) IZINTOMBI ZOMOYA – SIPHUM’ ENYAKATHO (1973)

17) JOHN MORIRI & MANZINI GIRLS – TSWANG-TSWANG (1974)

18) IZINTOMBI ZOMOYA – IGAMA LAMI (LIBIZW’EMOYENI) (1975)

19) MAHOTELLA QUEENS – ABACULI BETHU (1973)

20) DARK CITY SISTERS – NTUNTSOANE (1976)

21) JULIET, JOHN MORIRI & MANZINI GIRLS – BAQHUBI BEZIMOTO (1975)

22) MAHOTELLA QUEENS – YAKHAL’INYONI (1976)

23) THE PRIDE – KUMNANDI EZAYONI (1975)

24) AMAGUGU – THULA MNTWANA (1976)

25) OLIVE MASINGA AND THE “T” BONE DOLLS – IZIHLOBO ZIYASISHIYA (1974)

26) IZINTOMBI ZOMOYA – SPONONO NGIYEKE (1975)

27) IZINTOMBI ZESI MANJE MANJE – BASALI BASEJOALE JOALE (1977)

28) MELLOTONE SISTERS – UTHANDO LUPHELILE (1977)

29) IZINTOMBI ZOMOYA – WOZA UNGILANDE (1977)

30) MAHOTELLA QUEENS – OTLA NTSWARELA (1976)

MF

Classic Mbaqanga Girl Groups - Vol. 3

ABOVE - THE MAHOTELLA QUEENS IN 1980.

CLOCKWISE FROM TOP LEFT: CAROLINE KAPENTAR, THANDI NKOSI, EMILY ZWANE AND SHEBA MALGAS

There comes a time when a particular song becomes ingrained in your mind. Every tune in this mix has been, at one time or another, one of those songs for me. Electric Jive is proud to present another installment of Classic Mbaqanga Girl Groups, our ode to the black South African songbirds of the 1960s and the 1970s. In this, the third volume, more rare gems from the archives are presented for you to enjoy – but I have decided to dispense with the usual format of a long mix in a single MP3 and instead provide you all with a compilation of individual tracks. The first two mixes in this series combined have been downloaded 1809 times (as of 22/10/12), which shows how well liked this particular form of female harmony sound is among the EJ followers – but I have taken into consideration the lack of flexibility of the single MP3. Many of you will have your own particular favourites to listen to, so I hope the new method of sharing the tracks individually is more helpful!

Without further ado, let us now shine some light on the people responsible for such beautiful music.

“Silihambile Ilizwe” features the 1972 incarnation of Izintombi Zesi Manje Manje, here fronted by resident groaner Mthunzi Malinga. The resonating guitar and soft vocals of the girls endeared me to this song almost as soon as I first heard it. Mthunzi weaves in and out of the girls’ harmonies with guttural moans, while Nobesuthu Shawe solos in the number with expressive beauty. The song refers to the amazement and excitement of travelling across the country to perform for appreciative audiences who clap their hands vigorously. It is a true gem of a song, and one that I am glad to share with you. One of Izintombi Zesi Manje Manje’s early recordings, “Shela Wethu”, features some lovely vocal work in combination with the classic elasticated mbaqanga rhythm section.

“Ngibuzindlela” is perhaps the best example of the female vocal mbaqanga that sold very highly during the 1960s, should one ever need to select one single track to represent the genre during that era. The track has all the key elements, from the bouncy electric rhythm and bass to the watery lead guitar, the smashing brushed snare, and – of course – the close harmony of the Soweto Stars, the group merely being another name used by the Mahotella Queens. The five ladies on this song were the most famous and well known of all the Queens line-ups. Hilda Tloubatla fulfills the role of the strong-voiced woman lead singer here (belting out the vocals with utter proficiency has perhaps become one of Hilda’s most familiar trademarks in all her 50 years of recording!), answered by the rest of her team with a superb response. “Uhlathana” is another classic hit from the Mahotella Queens repertoire, recorded in 1970. A different grouping of the same pool of ladies sing in a rough-and-ready manner, raw mgqashiyo singing at its best, while the Makgona Tsohle Band provide some of the best instrumental accompaniment I have ever listened to. A great number not to be missed!

Another popular group back in the day was the Mthunzini Girls. Originally, the name was just yet another cover for the pseudonymous work of the Mavuthela girl group team, but by 1966, had evolved into a separate unit led by Julia Yende. This group, also featuring Virginia Teffo, Teddy Nkutha and Windy Sibeko, recorded some of the Girls’ best-selling material, often fronted by the regular Mahotella Queens groaner, Mahlathini – but the singers eventually dispersed. By 1972 it had settled down into a more stable unit. John Moriri was now the male lead of the group for the last four or so years (but he was eventually to depart, being replaced the year after by Robert ‘Umfana Wembazo’ Mkhize), with the Girls comprising Beatrice Ngcobo, Phyllis Zwane, Thandi Nkosi, Maseri Nombembe, Beauty Radebe, Barbara Shabalala, and others. One of the latter-day Mthunzini Girls hits was “Uyadelela”, a lovely song with the vocal and guitar patterns evocative of traditional Zulu music. Also included here is a 1968 song called “Umnumzane”, which although released with the Mthunzini name, is actually a Mahotella Queens song – unusually late in the decade for that practice to still be in use. It is, nonetheless, a nice tune!

You will find that many of the tracks in this mix benefit from exquisitely beautiful guitar work. The Satbel black music team of the 1970s featured a talented collection of lead guitarists such as Raphael Ngcamphalala, George Mangxola, Michael Nyembe whose distinctive handiwork helped to create an airy, atmospheric sound to the recordings of the Mellotone Sisters, Indoda Mahlathini and The Queens, Victor ‘Mahlabathini’ Zulu, and many others. The two numbers contained here by The Queens (the girl group that backed Mahlathini whenever he was away from Gallo–Mavuthela’s Mahotella Queens) are gems in their own right. Koekie Makhanya, Mildred Mangxola, Isabel Maseko, Agnes Mhlauli, Thoko Nontsontwa, Joyce Twala and Paulinah Zulu provide richly sumptuous vocals and march through the tunes in stunning synchronization, backed by Ndlondlo Bashise (who were also credited in equal measure as The Mahlathini Guitar Band).

“Siyobona umdlalo omusha – iDisco! iDisco! iDisco!” sing the Mthembu Queens. The new late 1970s music craze ebbed away at mbaqanga’s longstanding popularity in the townships, but that’s no problem for these ladies. They’re going to Soweto to see this new disco music in action! We’re doing the disco dance! The song in question, “Asambeni”, is completely un-disco to the point of confusion. This is a female mbaqanga classic, it could not be further from disco music, with guitars scratching all over the melody alongside some wonderful vocal talent. The Mthembu Queens, one of the few successful new girl groups of the 1970s, also give us the sweet serenade “Julieta”, the message of a man’s love for a woman who doesn’t appreciate him in the same way. No more remains to be said – just listen to their passionate and mesmerising voices.

That new disco music did indeed eventually force mbaqanga producers to alter the familiar sound somewhat. A heavier drum mix combined with the 1970s soul organ entered the studio, and the trademark bouncy rhythm guitar was retired, to be replaced by either a second lead guitar – or, in many studios, nothing at all. The lead guitar and bass remained the key elements of mbaqanga even into the 1980s. But while the Soul Brothers were leading the way with their popular mbaqanga-soul fusion, the Mahotella Queens were still quietly and confidently going about their business – bizarrely, to some degree of success. Alto vocalist Beatrice Ngcobo leads the ladies in fine voice in the 1982 song “Malume”, a young woman’s wish for her uncle to forgive her for all the unforgiveable things she did as a youngster. I’m so sorry my uncle, sings Beatrice. I’m so sorry… I’d like to return home to my family, continue the Queens. The ladies managed to hang onto some of their popularity well into the 1980s, and producer Marks Mankwane even saw fit to reunite five of the original Queens together with Mahlathini under a brand new grouping entitled Mahlathini Nezintombi Zomgqashiyo (or “MNZ”). The MNZ group and the Mahotella Queens, rather oddly enough, existed alongside each other and remained two separate units. One of the MNZ songs recorded without Mahlathini, “Ha Ke Tsebe” from 1984, has been included in this compilation. It is a typical love song with nice and relaxed singing.

I am indebted to Laurent Dalmasso for contributing three wonderful tracks from the early years of mbaqanga, taken from 78 rpms – “Andikathale” by the Joy Sisters, “Lamalobalemabane” by the Soweto Stars and “Moratuoa” by the Slick Sisters. Another thanks to our own Chris Albertyn for contributing two fantastic numbers – “Lepae Laka” by The Queens and “Jabulani Balaleli” by Amaqawe Omculo.

I hope you’ll enjoy Classic Mbaqanga Girl Groups – Vol. 3. Download the music, take in the sublime melodies, and do help us to spread the fact - the fact that old school South African female harmony was just as kickass as anything these hip-hop youngsters throw at us today.

Give it up one more time for the girls! YEBO!

CLASSIC MBAQANGA GIRL GROUPS – VOL. 3

1. SILIHAMBILE ILIZWE – UMTHUNZI NEZINTOMBI ZESIMANJEMANJE (1972)

2. AMAZING GRACE (SIMAKADE) – MAHOTELLA QUEENS (1972)

3. WE BABA ZALA – MAHLOKOHLOKO STARS (1966)

4. ANDIKATHALE – JOY SISTERS (1962)

5. NGIBUZINDLELA – SOWETO STARS (1968)

6. MALOME OREKILE SEPANE – S’MODERN GIRLS (1971)

7. UHLATHANA – MAHOTELLA QUEENS (1970)

8. SHELA WETHU – IZINTOMBI ZESI MANJE MANJE (1967)

9. UMNUMZANE – MTHUNZINI GIRLS (1968)

10. LAMALOBALEMABANE – SOWETO STARS (1965)

11. BEKEZELA – MELLOTONE SISTERS (1976)

12. ASAMBENI – MTHEMBU QUEENS (1977)

13. HA KE TSEBE – IZINTOMBI ZOMGQASHIYO (1984)

14. DITABA TSA HAO – THE MATTERS (1980)

15. MALUME – MAHOTELLA QUEENS (1982)

16. MENATE YA LEFATSHE – THE MATTERS (1980)

17. JULIETA – MTHEMBU QUEENS (1977)

18. IQHUDE – DYNAMIC SISTERS (1966)

19. SEKULU KHUNI – THE QUEENS (1976)

20. JABULANI BALALELI – AMAQAWE OMCULO (1972)

21. UYADELELA – MTHUNZINI GIRLS (1972)

22. MORATUOA – THE SLICK SISTERS (1962)

23. SEKUYASA – MAHLABATHINI (1975)

24. LEPAE LAKA – THE QUEENS (1975)

25. AMAZWE NGAMAZWE – MTHEMBU QUEENS (1977)

RS / MF

Classic Mbaqanga Girl Groups – Vol. 2

The black South African music scene of the 1960s and ‘70s was dominated by a unique electric jive sound that was later christened mbaqanga. For almost its entire near-twenty year rule over the country, mbaqanga’s most distinctive feature was the all-female close harmony sound, sometimes augmented by the booming bass vocals of a gruff male singer. The girl group of South Africa was partly modelled on the girl group of the USA. The smooth arrangements of The Andrews Sisters, the tight harmonies of The Shirelles and the sex appeal of The Supremes – combined with a modern African twist – helped to create such memorable groups such as the Dark City Sisters, the Mahotella Queens, Izintombi Zesi Manje Manje, and countless others that still sit fondly in the memories and minds of many today, young and old. Today, Electric Jive presents another special mix of tunes: Classic Mbaqanga Girl Groups – Vol. 2.

In our first installment, we elaborated extensively on the histories of these wonderful groups, so we shall not repeat ourselves. Vol. 2 contains recordings from the artists mentioned above (and many more), released between 1962 and 1981. This mix is bookended by the ladies who started it all – the Dark City Sisters, with two wonderful ballads from 1968 and 1962 (the latter recorded under one of their other pseudonyms, the Killingstone Stars) sandwiching this mbaqanga feast. The Sisters also bring us a tune from 1981, by which time they had conformed to the mbaqanga sound of that particular era – but the golden voices of Joyce Mogatusi, Doris Ntuli and Grace Moeketsi still shine through wonderfully.

The ones who took the torch from the Sisters and kept it burning brightly throughout mbaqanga’s heyday, the Mahotella Queens, are represented generously here with several classic numbers, all of them sublime – and three of them recorded using their other pseudonyms: Soweto Stars, Izintombi Zomqashiyo and Dima Sisters, spotlighting the voices of various members including Olive Masinga, Hilda Tloubatla, Ethel Mngomezulu and Thoko Mdlalose. The Mahlathini Girls are here as well with two numbers fronted by male singer Joe Mdluli (something of an irony considering the group’s name…), as are Mahlathini’s wonderful backing group The Queens (led by Mildred Mangxola), with a small selection of enjoyable tunes. Irene Mawela, that saccharine-voiced sweetheart of the 1970s, features in our mix with something of a diversion: her voice may well be the only female presence in the line-up The Zebras, but it is a wonderful number well worthy of inclusion, and in any case, Mawela herself was a massive contributor to the ‘70s girl group. She also appears on two classic 1973 recordings made with the Mgababa Queens, contained in this mix and categorised “Soul Vocal Jazz” on the original label.

So… let’s hear it for the girls. More biographical information on these (and associated) artists can be found elsewhere on Electric Jive… but feel free to post any thoughts or queries in the comments section. All that remains to be said is... enjoy! YEBO!!

Classic Mbaqanga Girl Groups - Vol. 2
1. ONTSEKISANG – DARK CITY SISTERS (1968)
2. OH! BABA OMKHULU – MAHOTELLA QUEENS (1972)
3. NKHONO OAKA – THE ZEBRAS (1976)
4. NGIZOKWENZANI MAHLALELA – SOWETO STARS (1968)
5. SIDL’ IMALI ZETHU – MGABABA QUEENS (1973)
6. IZINDABA ZABANTU – MAHOTELLA QUEENS (1973)
7. UMFOKANKOSI – MAHLATHINI AND THE QUEENS (1976)
8. UTHULI LWEZICHWE – MAHOTELLA QUEENS (1977)
9. HHEM, HHEM, HHEM – MTHUNZINI GIRLS (1971)
10. KEBA BONE – THE QUEENS (1977)
11. MAJAZANA – MTHUNZINI GIRLS (1972)
12. MAMA ZALA – MAHLATHINI GIRLS (1975)
13. KUDALA BEKUSHO – THE QUEENS (1977)
14. AKULALWA ESOWETO – MGABABA QUEENS (1973)
15. SUZIE UYANGIPHOXA – MAHOTELLA QUEENS (1979)
16. LERATO LARONA – DARK CITY SISTERS (1981)
17. TSHEPO – S’MORDEN GIRLS (1980)
18. UMZIMBA OKHALIMALI – THE QUEENS (1977)
19. LAKHALA IQHUDE – MAHOTELLA QUEENS (1972)
20. WAKHALA UMNTWANA – MAHLATHINI GIRLS (1976)
21. THATHU KISI – DARK CITY SISTERS (1966)
22. BUYA BUYA – SOWETO STARS (1966)
23. USIKHESHE KHESHE – IZINTOMBI ZOMQASHIYO (1968)
24. THEMBELENKOSINI – DIMA SISTERS (1964)
25. EMANXIWENI – KILLINGSTONE STARS (1962)

RS / MF