BRENDA & THE BIG DUDES - Weekend Special (1983)

CCP/EMI, 12FLY(C)508

Producers: Mally Watson & Blondie

The original 12" version of the song that ushered in the bubblegum era and made Brenda Fassie its star following her apprenticeship in the family band of Blondie Makhene. Heavily influenced by American R&B and deliberately lifting from two specific tracks - BB&Q Band's 'All Night Long' and Sharon Redd's 'Never Give You Up' - in 1986 the song was remixed by Van Gibbs in New York, released internationally on Capitol and made it onto the Billboard charts (more about the song's history here). Penned by Melvyn Matthews, as was the B-side 'Life Is Going On', a timeless ballad showing Brenda's vocal power in the style of Whitney Houston. 

Big ups to the Boiler Room crew for this recent interview:

STIMELA - Trouble in the Land of Plenty (1989)

Gallo GRC, HUL40190
Producers: Ray Phiri & Dave Segal
Engineers: Dave Segal & Dave Subkleve

Perhaps the greatest South African band of all time, Stimela reached their peak in the late 1980s with albums like Trouble, which contains hits like 'Can't spend your life just taking', 'I Long to Return' and the title track. "It is Stimela in full swing, like a hungry cheetah that has taken a well-calculated final decision to attack its prey without mercy" (Mojapelo, 2008:139).

THE DYNAMICS - Switch It On & Wind It Up (1984)

Priority, MOBL100
Producers: Mick Williams, Dynamics & Ian Osrin
Engineer: Mick Williams
Recorded at: Battery Mobile at The Woodpecker Inn, Botswana

Influential and much-loved multi-racial ska act made up of Steve Howells (drums), Jimmy Florence (keys, bass, trombone), Herbert (bass, keys) and 'The Dynamic Horns’ Winston Nyaunda and Harvey Roberts.

With timeless tracks like ‘Thugs’ and 'Who’s Worried?', this mini-album was recorded at Hugh Masekela's mobile studio in Botswana with English producer Mick Williams. After Switch It On, the band left for the UK to escape conscription and apartheid oppression but failed to live up to their huge potential, reforming in the mid-90s to release their long-awaited follow-up, Organic. Lots more on this band HERE.

FRIENDS FIRST - We See A New Africa (1986)

Acts International, ACTS006   
Producer: JB Arthur   
Engineer: Kevin Shirley       

Odd gospel-pop album most notable for its political message and crossover appeal. Featuring among others Teaspoon Ndelu on sax and pennywhistle. Engineer Kevin 'Caveman' Shirley left SA the following year, going on to bigger things in Australia and the US with bands like Aerosmith and Journey.

"This album has been born in a nucleus of established friendships as opposed to being an impersonal professional exercise. As best as we have been able, we have kept relationships primary, and trust that this will communicate through vinyl, and provoke you to see possibilities for interaction and reconciliation in South Africa... We trust that this album will help you visualise and work towards a new Africa."

ZIA - The Frontline (1988)

Gallo GRC, HUL40173   
Producers: Patrick van Rensburg & Peps Coutamaccio   
Engineer: Darryl Heilbrunn       
Recorded at: RPM Studio

Though often overlooked in favour of other crossover acts like Hotline, Juluka and Mango Groove, Zia enjoyed a few local chart hits and some international attention. According to frontwoman Cindy Alter's website , Zia "toured the country, then broke into the French market and toured France, opening for the Bee Gees at Bercy in Paris, after which they were offered the opening slot on the Bee Gees' US tour. This was a major coup, but was sadly thwarted when their local record company could not offer tour support.  Cindy took this as a sign to move on. She resigned from Zia and in July 1990 booked a ticket to Los Angeles."

The Frontline follows their self-titled debut in 1986 and Kant'Unjani in 1987. Songs have pop, rock and traditional Zulu influences, most with politically charged messages, for example on 'Children' and 'Trust In Me'.

THE BHUNDU BOYS - Hupenyu Hwepasi (1984)

Black Talent/Shed, BTMR004

Early album from Zimbabwean jit-jive kings. Notes feature detailed biographies of Rise Kagona (guitar, vocals), Biggie Tembo (guitar, vocals), Shakie Kangwena (keys) and Kenny Chitsvatsva (drums) and the history of the band. "The group was formed in 1980 as a backing band for Son Takura a visiting singer, but when the tours were over, there was sufficient demand for the group that they stayed together and started recording...





"Bhundu Boys enjoy a lot of popularity, and when their own personalities are explored, it is easy to see why. The individual members are a conglomerate of varying characters, ranging from the quiet to the outrageous..."

 

YVONNE CHAKA CHAKA - I Cry For Freedom (1988)

Roy B/Dust/Dephon, RBL143   
Producer: Attie van Wyk (exec: Phil Hollis)
Engineer: Richard Mitchell
Recorded at: The Power House Studio

One of SA's most bankable, beautiful and brightest stars, Yvonne first emerged in the mid-80s and is still going today. Besides the popular title track, this album from her 80s heyday includes the hit 'Doctor Doctor', 'Caught Breaking The Law' and the saucy 'Baby I Want You Right Now'.



"The siren effect was brought into her album I Cry For Freedom with the track 'Caught Breaking The Law'. My understanding of the strategy behind the concept was that the producers, Attie and Phil, were playing on the tense and hair-rasing effect of the siren, which to most people spelled danger - the police, the ambulance or the fire brigade. It immediately captured our attention. It also won the sympathy of the listener who knew what normally happened to people who were dragged into the cold and dark cells for breaking the law . . .

"In a short space of time Yvonne Chaka Chaka was South Afria's most popular musician on the continent. She was a hit in Zimbabwe, Kenya, Gabon, Sierra Leone, Ivory Coast and many other countries. It was on her 1990 successful Uganda tour that she earned the name 'Princess of Africa'."  (Mojapelo 2008:98)

   

ANNA MWALE - African Song (1984)

CBS, CBS3038   
Producers: Charlie Boswic & Joe Kleindienst           

One of Zambia's most famous music exports, Anna Mwale left the country in the 80s and has spent most of her time since then in Germany and the UK, performing and releasing all over the world.

African Song was her breakthrough and biggest album, with east and southern African vibes made more palatable for European audiences by slick synths, funky basslines and some Caribbean influences. At worst cheesy and overproduced, but with solid tracks like 'Kabuku Langa', 'Magic Sound' and a fun cover of the old classic 'Pata Pata', written by Dorothy Masuka and made famous by Miriam Makeba.



In an interview in 2009 with the Zambian Post, she tells of how 'Excuse Me' became an overnight hit in Spain and later east Africa, and how she lost most of her earnings in later years. More recently reports emerged of her being sent to hospital in Lusaka after being questioned by cops over the theft of 3000 chickens.



Check out this spandex-stricken video to one of her hits not on this album, 'I Can't Get Your Love'. Classic dance moves.

JONATHAN BUTLER (1987)

Zomba / Jive Afrika (HIPD1)   
Producer: Barry J Eastmond   
Mixed by Nigel Green & Bryan 'Chuck' New       

"By the age of 13, Jonathan was the most popular young singing star in his home country. It was then that he first heard and developed his passion for jazz music, and started to work on perfecting his unique style of jazz guitar playing.

"At the time, Jonathan worked closely with two fellow South Africans, Clive Calder and Ralph Simon, who shared and encouraged his passion for American R&B and jazz music. In 1976, due to their disillusionment with the oppressive apartheid regime in South Africa, Calder and Simon emigrated to London. By 1985, they had founded the independent Jive Records label, and Jonathan had moved from South Africa to London at their invitation.

"In 1986, Jonathan's debut jazz guitar album Introducing Jonathan Butler was released, and quickly won respect and acclaim for the young virtuoso. Soon artists like Al Jarreau, Billy Ocean, George Benson and Millie Jackson recognised Jonathan's songwriting talent and recorded compositions by him.



"Later in 1986, teaming up with his multi-talented producer Barry Eastmond, Jonathan recorded the music for his second album. As there was simply so much good music recorded, the unusual decision was taken to release a double album with over 70 minutes of music, consisting of 11 songs featuring Jonathan's distinctive and emotive singing and 5 instrumentals that display his rare gift for melody and his African roots.

"Discover Jonathan Butler - a 25 year old musical veteran!"


 

Still going strong: JB at a recent performance in Joburg (copyright Afrosynth)

Also check out one of his earlier hits, 'I'll Be Waiting' (already in the Afrosynth library):

BRENDA - I Am Not A Bad Girl (1991)

CCP/EMI, BREN(V)91   
Producers: Selwyn Shandel & Peter Moticoe           
Recorded at: Shandel Studios & Digital Cupboard

By the early 90s Mzansi's most loved songbird had long left the Big Dudes behind. I'm Not A Bad Girl catches her between her early Chicco-backed solo success and her later kwaito comeback. Here she teams up with prolific producer Selwyn Shandel, who lends his own Eurobeat/proto-house style to the mix. Not her most memorable work, but interesting for being probably the album with the least local influence. Six of the 8 tracks are in English, although the biggest hit of the album was 'Ngiyakusaba' (I'm scared of you).

PROPHETS OF THE CITY - Our World (1990)

Kushushu/Teal Trutone, KVL1507   
Producers: POC, Issy Arafdien, Lance Stehr
Recorded at: Home studios & Crucible Recording Studio, Cape Town

               
Mzansi hip-hop pioneers POC were started by Ready D and Shaheen Arafdien, and later featured Ishmael Morabe, Caramel and others. Shaheen's father Issy Arafdien, former guitarist for Cape jazz-funk act Pacific Express, produced this their landmark debut album. It was followed by Boomstyle (1992), Age Of Truth (1993) and Phunk Phlow (1995)

For years the crew (aka Prophets Of Da City) have toured the country, spreading positive hip-hop consciousness to hundreds of thousands of schoolkids. In 1992 they were invited by Quincy Jones and Caiphus Semenya to the Montreux Jazz Fest. In 1994 they performed at the inauguration of Nelson Mandela. Ready D was given Grandmaster status in 2010.



It's conscious hip-hop influenced by Public Enemy but with a more positive message and drawing on local influences like ghoema/vastrap ('Stop the violence), maskandi ('Roots') and rapping in Cape Flats Afrikaans (on 'Dallah Flat'). Album notes pay tribute to "The music of Dollar Brand that inspired us - let's learn to understand and respect each other's music." Amen.

NOMUNTU & CHIMORA - Being Bitchy Is My Kind Of Fun (1989)

Roy B/Dephon/Teal Trutone, RBL154
Producers: Sello 'Chicco' Twala & Attie van Wyk
Engineer: Adrian Hamilton
Recorded at: Sweet 16

"Sello Chicco Twala formed a female trio. On his We Miss You Manelo album one of the tracks, 'Rachimo', seems to have inspired the trio's name - Chimora. The group's members were Tiny Mbuli, Makie Motlaung and the late Tshidi Wildeman. Sometimes they were referred to as 'The Chicco Girls'. On an album simply titled Chimora the duo of Nomuntu Kappa and Mohapi Mashego fronted the trio. Besides Some More My Cherry the album also featured Daddy's Dead and Bad Boys. They featured Nomuntu Kappa on Being Bitchy Is My Kind Of Fun." (Mojapelo 2008:119)

Besides the big bubblegum hits 'I Wanna Know' and the title track, this album serves up gospel-pop on 'Save Me' and 'Power And Glory'. Best track 'Ricotamba' is Afrobeat-inspired house that showcases Chicco's skills.

Chimora's other albums include Mayibuye iAfrika, Intendane and Abafazi Abalile. They had hits such as 'Munwe Na Munwe', 'Romano', 'Ngangilambile', 'Africano Americano' and 'Eli Eli' . . .

GEORGE FENTON & JONAS GWANGWA - Cry Freedom (1987)

MCA/Tusk, LMCA 6224   
Producers: George Fenton & Keith Grant   
Engineer: Keith Grant       
Recorded at: Abbey Road, CBS & Twickenham Studios, London

Soundtrack to the 1987 film about Black Consciousness leader Steve Biko, played by Denzel Washington. Written by prolific British composer George Fenton and Mzansi jazz icon Jonas Gwangwa, who led the ANC's cultural arm Amandla in exile. Also featuring UK-based heavyweights like Lucky Ranku, Dudu Pukwana and Bheki Mseleku, as well as British synth-man Ken Freeman.

Nominated for a Grammy in 1988 as well as for Oscars for Best Score and Best Song for the title track, which Gwangwa performed live at that year's ceremony. The music is a powerful blend of Eno-esque orchestration, mostly mellow and moody, with some old-time South African jazz (on tracks like 'Shebeen Queen'). Highlights include a version of the then-banned anthem 'Nkosi Sikelel' iAfrika' sung by Thuli Dumakude.

Director Richard Attenborough writes: "Jonas has brought to the soundtrack a veracity and vividly African flavour which conveys a unique feeling of place and mood. This George has transmuted into a music track which is wonderfully accessible to a non-African ear. Their collaboration has been remarkably successul, resulting in what I consider to be the finest film score George Fenton has ever written."

 

LADYSMITH BLACK MAMBAZO - Shaka Zulu (1988)

Warner Bros / Gallo GRC,    HUL 40157   
Producer: Paul Simon   
Engineer: Roy Halee   
Composer: Joseph Tshabalala

South Africa's greatest musical export, LBM first travelled to Germany in the early 80s. Shortly after appearing on the influential Indestructible Beat of Soweto compilation in 1985 they helped Paul Simon make Graceland the following year. Simon returned the favour, producing their next three albums and ensuring international stardom.

Shaka Zulu was the first of these and earned the group a Grammy for Best Traditional Folk Recording. Besides his name, it's doubtful Mr Simon could've offered much to the the smooth acapella grooves of LBM's brand of isicathimiya. Featuring classics like 'Rain, Rain, Beautiful Rain', 'How Long?' and 'Hello My Baby'.

STEVE KEKANA & PJ POWERS WITH HOTLINE - Feel So Strong (1983)

MFM/Gallo, XPD 2128
Producers: Bones Brettell, Greg Cutler & Alistair Coakley
(executive producer: Mike Fuller)
Engineer: Greg Cutler   
Arranger: Hotline

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' . . .

STIMELA - Shadows, Fear and Pain (1985)

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.