Early Mzansi reggae from the label of legendary guitarist Marks Mankwane of the Makgona Tsohle Band. Like Lucky Dube's first reggae releases from the same time, the songs favour rudimentary synth FX and uptempo Japanese drummers over straight-up skanking.
Highlights include the reggae soul of 'Greener Pastures', the ska-influenced 'Don't Take a Chance' and 'Eyes See'... "I'm a Rastaman and I got to respect my dreadlocks. I never have time to comb my hair, I kick off the blankets and get out on the streets..."
Gallo/GRC, STEVL1009
Producers: Steve Kekana, Charlie Rakgwale, Eddie Mathiba
Engineer: Sam Wingate
Another release from one of Mzansi's most prolific and finest voices, at a time when he had already enjoyed substantial crossover and international success. "This album was made especially to wipe out tears from my fans who have been waiting anxiously and already thinking that I will never make another Zulu album."
File under Mbaqanga - it's filled with driving basslines and Soul Brothers-inspired keyboard riffs courtesy of Eddie Mathiba. Other musos on board were Charlie Ragwale (Lyn drum programming), Baks Radebe (guitar), Professor Mhlanga and Jantshi Mayo (bass), most of them regulars in Bra Steve's backing band, The Pages.
Tiger/RPM, TIGLP435
Producer: Humphrey Mabote
Engineers: Isaac Matobela, TJ Mosia, LB Rhikhto
Recorded at: RPM
Arguably the only band to be named after the serial number on their album, TIG435 served up distinctive frantic Shangaan beats and rolling synths in the style of Splash, the Dalom Kids or Joshiba. Highlights include 'Makoti', the title track and 'Gimba'.
Raintree/Teal, CEX 8010
Producers: Peter Pearlson & Hendry Koetzee
Sweet bubblegum jam giving free rein to face-melting synths - more obvious on the B-side dub, which dumps the moody lyrics of love gone bad . . .
"I'm walking lost and lonely,
and thinking crazy thoughts.
Is there really someone else?
I've paid the price, but it's grief I've got. Don't you know I'm crying in the night?
I can hear the door slam tight...
Don't you know I'm crying out in vain?
Will you ever be back again?
I can see you lying in his arms,
I can't remain calm...
Can't you hear me crying in the night? I hear the people talking, but they don't know the truth.
They say I treat you badly, but it's me who's feeling grief."
Another member of the extended Stimela family, Sandile Ngema took over briefly from Jabu Sibumbe on bass in the early 90s. (Mojapelo 2008:138). On Uzuthuzweni, produced by Chikapa himself, Sandile penned 'I Won't Let You Down' and 'Give Me, Give Me' - both hot disco funk with that magic Stimela touch. 'Hold Me Close' slows things down but still offers some piercing synth solos.
Classic early bubblegum track - a duet by a black man and a white woman that tested the apartheid censors at the SABC. In the days of the Immorality Act, such relationships - or hinting at them through song - were illegal. Lyrics like "Your love has made me feel like I belong" had to be changed to "your help has made me feel like I belong" for the song to be played on radio. And photos of Steve and PJ holding hands above their heads were cropped to show no touching. If that was enough to get the censor's worked up, they wouldn't have been impressed by the B-side "Rap Version" of the same song, which has PJ cooing "Touch me, feel me... we can make it, feels so good... I want you so bad," even though Steve doesn't feature. Sure enough, five years later PJ was banned by SABC TV and radio for a year.
Check out this video of the way things were - filmed and televised during Hotline and Steve's mid-80s tour to Scandinavia, where the song was a hit - along with Steve's other early English tracks like 'Raising My Family' . . .
Flame/CCP, FLAME(V)4064631
Producers: Frank Leepa & Tsepo Tshola
Engineer: Fab Grosso
Another long-time institution of SA music, Sankomota blended jazz, soul and pop to create timeless, sophisticated tunes that could've been put out yesterday. Formed in Lesotho by Frank Leepa, Moss Nkofe and Tsepo 'the Village Pope' Tshola, who was part of Hugh Masekela's Botswana-based band Kalahari.
"While in London with Hugh Masekela, Tshola met Julian Bahula (Malombo) who encouraged him to bring Sankomota to England. Subsequently Sankomota stayed for a long time in England, performing and developing their product. Some of their albums are The Writing's On The Wall, featuring Tsepo's composition 'Papa', and Exploration - A New Phase (1991) featuring yet another Tshola composition, 'Stop The War'." (Mojapelo 2008:214)
Transistor/EMI, 12CBK(C)5018
Producer: Sidwell Duda
Engineers: Phil Audoire & Keith Forsyth
Recorded at: Ovation & Delarey Studios
Monwabisi Denis Yekani would go on to form the massive pre-kwaito duo Monwa and Sun on the Cool Spot label. Before that he put out this sweet synth-soul maxi with The Movement. Produced by one Sidwell Duda, who helped launch the career of Sello 'Chicco' Twala that same year.
B-side 'Try Your Luck' is a great downtempo bubblegum love song: "If you wanna try your luck, baby why don't you try me? If you are looking for love, don't you look no further.
Don't regret the hard times you've had, now the search is over.
No more lonely nights from now on, now the search is over..."
RPM / Golden Ears, GEM 002
Producers:, Julia Mabika & Dane Stevenson
Engineer: Julia Mabika & Dane Stevenson
Tribute album dedicated to boxer Dingaan Thobela, who won the WBO Lightweight title in 1990, WBA Lightweight in 1993 and WBC Super Middleweight in 2000. In 2006 he made an unsuccessful comeback attempt for the SA light heavyweight title, aged 40.
Musically it's a mediocre mixed bag of bubblegum and eurobeat - no live instruments except for keyboards by Thema Bhogo. Still, some novelty appeal in the rapping (courtesy "Leroy and Vusi") and an 'ice ice baby' chorus on 'Living in the Desert'. Lead vocals by Shabane Shakara. Most of the six tracks were put together by Julie Mabika (who also had a solo hit with 'Be My Wife') and Dane Stevenson - except for 'Dingaan Thobela' (Ernest Schroder, Themba Dlamini and Elijah Mjwana.) and 'The Winner Takes All' (Mabika, Schroder and Dlamini).
Steel Street/EMI, SY(0)711
Producer: Tom Vuma
Engineer: Inyanga
Recorded at: De La Rey Studios
Superior synth-pop produced by Tom Vuma, who helped launch the careers of Steve Kekana and Supa Frika. Though lesser known than those two, this album puts Mr Mashinini right up there, with the power and creativity of the first with the groove of the second.
Lyrics on side A cover living conditions ('One For Sorry'- "Don't you know that three's a crowd?"), crime ('ke TSotsi') and the daily grind on 'no money, no survival': "I'm working underground, for my family,
ngisebenza emgoldini.
I'm digging gold for my family...
I feel so strong, working for my family day and night, never gonna stop working overtime,
when I've done my time, my children will take over, and look after me..."
B-side seems more concerned with romance - best track 'Georgina' has a frantic call and response chorus and compared to the slow funk of 'Huya Huya' and 'Tiku Sauka'.
"Tom Vuma's Miracle Music released Danny Mashinini's self-titled 1988 album as well as his Georgina. Danny whose real surname was Masemane hailed from Zebediela in Limpopo Province. Tom composed, arranged and produced the albums." (Mojapelo 2008:155)
A tasty serving of Sotho Soul stew! Hailing from Sebokeng, south of Joburg, the Black Five were a 10-piece group whose vocalists included Cokes Mokhele and the recently departed Daniel "Nana" Tsietsi Motijoane, later known as Coyote and part of Stimela.
Highlights on the pre-bubblegum classic include the smooth funk of 'Selallane' and 'Wa Ikgona', the ecstatic gospel of 'Hallelujah' and the famous title track, written by Tsepo "The Village Pope" Tshola (Sankomota) and later covered by the likes of Hugh Masekela and Mara Louw.
Mountain/CCP, MOULP(LP)15
Producers: Paddy Lee Thorp & David Kramer
Engineer: Jerry Barnard
Recorded at: B&S Studios, Cape Town
Kramer was a unique and important figure in South African music. Born and raised in Worcester, he studied at Leeds University in the early 70s and returned to South Africa to begin his music career, which became synonymous with his small-town everyman persona and biting satire. Prolific in the 80s, his debut album Bakgat! was released in 1980 and immediately banned by the SABC for its political content.
Delicious Monster was his third album. Dedicated to "the main brekers of the Boland bop... Retired ducktails whose misguided fantasies of stage and cinema careers have dried and caked like hair cream under the cold reality of office block neon". Songs have Kramer's unique corny yet cutting take on life in South Africa, with titles like 'Suburban Dream', 'White Cortina', 'Hekke van Paradise' (gates of paradise) and 'Barman (Turn up the News)' hinting at this. 'Cowboy' carries some kwela influences before Mango Groove hit the scene. DK wrote all the tracks, except for 'Oh Carol', a Neil Sedaka cover sung in an over-the-top SA accent.
Other albums include Kwaai (1984) and Baboondogs in 1986, the same year he turned to theatre with District Six with the late Taliep Peterson. Theatre would take up most of his energy in the next decade, including hits like Kat and the Kings (1995) and Ghoema (2005). His most significant recent project was Karoo Kitaar Blues (2002), which saw him travel the Karoo to assemble a cast of unique musicians.
So endearing was the character he created that he was contracted in 1983 to appear in ads for the Volkswagen Kombi, which made him even more famous than his music or theatre work.
"The great David Kramer, who is one of the earliest leaders of the Alternative Afrikaans music trend, had hits like 'Die Royal Hotel' and 'A Matchbox Full of Diamonds'. He inspired a whole new generation of Afrikaner musicians like Koos Kombuis and the late Johannes Kerkorrel...This movement agitated for changes in South Africa using the Afrikaans language as a medium." (Mojapelo 2008:70)
Right Track/RPM, RTS 631-12
Producer: Mac Mathunjwa
Engineer: Sam Wingate
Feel-good maxi single by one Monty Bogatsu, who played a large part in forming the SA Blind Musicians Association. Lyrics were idealistic to say the least: "Everybody in the street, is moving to the beat, Good vibrations, right across the nation, Good vibrations, there's a big celebration!"
B-Side 'I'll Never Leave You Alone' slows the synths down to soppy for a dull love song.
Teal Trutone, KVL 5064
Producers: Ian Osrin & Jabu Sibumbe
Tight, funky, intelligent local grooves similar to Jika, Zasha, Kumasi and Stimela. Best tracks 'Idolofiya', 'My Brother (Mfowethu)' and 'Africa' feature smooth synths and accordian vibes.
Sabela ("with confidence") were:
Dudely "Tops" Bouwer - guitar / vocals
Lefa Matsotso - keyboards
John "Senae" - keyboards
Tsia Matlebe - lead vocals
Joseph "Maputo" Khoza - guitar
Also featuring Mzwandile David (accordian), Tsietsie Mafabatho (Hammond) and guitarist Skipper Shabalala (of Zasha). Produced by Stimela's Jabu Sibumbe and Ian Osrin.- "With a team like that I bet you cannot you wrong ... Much hard work, long hours and the will to be strong will bring the rewards". Liner notes also give "Thanks to the Khomari Borthers - Papie and Rasie for bringing us together after six hard years of loneliness and endless dreaming about the music industry."
Side B:
1. O Nketsang pt.2 - Rex Rabanye
2. Another Lover pt.2 - Om Alec Khaoli
3. Brikha Bhova pt.2 - Zasha
4. (All I need is here) In Africa - PJ Powers (Hotline)/Steve Kekana
Gallo, HUC 40089
Producers: Ray Phiri & David Segal
Engineer: David Segal
Recorded at: Ovation (mixed at RPM)
The magic of Stimela is hard to define - a fusion of local, jazz and funk influences, they managed to craft a modern South African sound that continues to influence SA musicians, yet one that was completely removed from the catchy, "disposable" exuberance of bubblegum. Never in a rush, yet always with a sense of purpose and direction - like the steam train after which they took their name.
This was their third album, featuring the "People's Band" five key members: Jabu Sibumbe (bass), Isaac Mtshali (drums), Charlie Ndlovu (synths), Lloyd Lelosa (keyboards) and Ray Phiri (vocals and guitar). It followed their debut Fire, Passion and Ecstasy and Look, Listen and Decide. Later albums include Khululani, Siyaya, Don't Ask Why, The Unfinished Story, and their recent comeback album, the Sama-winning A Lifetime, featuring a revamped lineup.
'Come to Me (Zwakala)' and 'Highland Drifter' remain firm favourites today. The latter was first written and recorded by Stimela's predecessors, The Cannibals, and was inspired by Ray's childhood memories. "In 1956 the residents of the Crocodile Valley Citrus Estate fled into the mountains fearing for their lives during the women 'dompas' resistance... It was against this background that young Ray felt like a 'highland drifter...mountains are my home." (Mojapelo 2008:137). Check out this live performance of the song from a few years back, featuring the recently departed Nana "Coyote" Motijoane on backing vocals ...
Though not so well-remembered today, the other three songs on this album - the title track, 'Love Will Find a Way' and 'Follow Your Heart (Sea of Love)' - also capture this iconic Mzansi band at their very best.
From their roots in the band Izindlovu, Jambo emerged as arguably the biggest selling reggae act in SA after Lucky Dube, with powerful, uplifting vocals, easy skanking and smooth synths.
Their other albums included Prodigal Son (1988), Calling All Children (1991), Give Us Power (1992) and No One (1996). Bad Friend featured lead vocalist Sipho Mdletshe aka Sipho Jonson. He later went solo and released the album Unborn Child, using the name Sipho Johnson Jambo. (Mojapelo 2008:162)
Highlights include 'No Man Kill Another Man' - a call to end the violence erupting in KZN and around Joburg between the IFP and ANC ahead of the dawn of democracy in '94.
Other tracks are on a more positive note, with gospel-tinged messages of hope like 'Jahovia', 'Don't Cry', and 'Shine on Brighter'.
Gallo (GMP), HUL40245
Producer: West Nkosi
Engineers: John Lindemann & Alan Cameron
Composers: Tshidiso Fako & Oupa Mokhwena
Recorded at: The Audio Lab (mixed at Bop Studios by Dave Segal)
O'yaba were an eight-piece act fronted by Tshidiso Alexis Faku, who shared songwriting credits with Oupa Mokoena. Produced by the late great West Nkosi (Mahlathini & the Mahotella Queens), O'yaba was a key band in forging Mzansi's unique reggae sounds, influenced by Jamaican roots but not derivative, and made some inroads overseas. Highlights of this album include 'Mayibuye' (let it return), 'Tsie' and 'Thube'. Caught Up was the follow up to Tomorrow Nation (1990), and preceded One Foundation (1993), Unhinged (1996), Crazy Love (1998) and the compilation The Game Is Over (Mojapelo 2008:163).
Early Mzansi reggae from the label of legendary guitarist Marks Mankwane of the Makgona Tsohle Band. Like Lucky Dube's first reggae releases from the same time, the songs favour rudimentary synth FX and uptempo Japanese drummers over straight-up skanking. 
