Showing posts with label 1980. Show all posts
Showing posts with label 1980. Show all posts

SOUND PROOF - The Greatest Hits Vol. 2 (1980)

Atlantic City/Tela/Gallo, BL255
Producer: David Thekwane


Pre-bubblegum soul produced by the influential David Thekwane (Boyoyo Boys, The Movers), who shares song-writing credits with Jabu Sibumbe (Stimela) and P. Ndlovu. Full of intricate organ grooves and powerful vocals, the band successfully fused marabi with Motown, laying the foundation for the disco acts that would emerge a few years later.  

THE CRACKERS - Zama (1980)

Masterpiece, LMS561
Producers: Moses Dlamini & Stanley Nkosi
Engineer: Phil Audoire
Recorded at: Satbel


More smooth soul from the beginning of the 1980s. Featuring on bass Peter Moticoe, who would soon make his name as producer of Shangaan disco king Paul Ndlovu, as well as countless others (Peter Maringa, The Ghetto, Joy White, Joyce, Minebelt, Tom Dollar, Bibi Msomi, Shadiii, Obed Ngobeni, etc).

CLOUT - A Threat And A Promise (1980)

Sunshine, GBL(L)514
Producer: Grahame Beggs
Engineer: Ian Martin


One of South Africa's most successful bands in the global market, Clout had an international number one hit in 1978 with their cover of the Righteous Brothers' 'Substitute', along with other lesser hits like 'Save Me'. Though marketed as an all-girl group, this was seldom the case. It turned out that even their signature hit had been recorded using male session musicians from the band Circus. By their third and final album, 1980's A Threat And A Promise, the line-up was three women and three men, including keyboardist Ron 'Bones' Brettell, who went on to form crossover act Hotline, while lead singer Cindi Alter would front the similarly styled Zia. The album is full of catchy, hook-driven pop-rock numbers, and includes the bands last two singles, the Hall & Oates cover 'Portable Radio' and 'Wish I Were Loving You' (written by John Sembello).



RICHARD JON SMITH - Shangrila (1980)

Bullet/CCP/EMI Brigadiers, BU(L)571
Producer: Robert Schroder
Engineer: Ian Martin


Smith was an influential and popular figure since the 1970s with albums such as Sweet Mama (1973), Superstar Smith (1974) and Michael Row The Boat (1979), featuring one of his most popular hits, 'Michael Row The Boat Ashore'. Born in Cape Town, Smith scored seven top 20 hits in South Africa between 1973 and 1980, earning the nickname 'Mr Knockout'. With the guidance of producer Clive Calder and Ralph Simon he led the way for other 'coloured' stars, such as Jonathan Butler, Ronnie Joyce and others. In the early 1980s Smith left South Africa to join Calder and Simon in exile in the UK, during the earliest days of their Jive/Zomba empire. He provided backing vocals to Tight Fit's chart-topping 1982 version of 'The Lion Sleeps Tonight' and reached number 63 on the UK charts with the disco-funk hit 'She's the Master of the Game' from his eponymous 1983 album. 

Despite being overshadowed by his former protege, Butler, Smith continued to release albums to some international acclaim, such as You And Me (1984) and Africa (1988). Though much of his early work sounds decidedly unfunky these days, Smith was a notable musical pioneer, one of the first to fuse conscious, politically relevant lyrics to American-inspired disco sounds and even reggae. For example on Shangrila, the title track deals with the still-burning issue of forced removals, with lyrics dwelling on "The sound of bulldozers tearing away at our hearts..."









AMANDLA - Amandla (1980)

Swedish Labour Movement Record Company, BS 800718
Producers: ANC, Palle Budtz
Recorded at: Radio Luanda & Radio Zambia Studios


While the exploits of the ANC’s military wing Umkhonto we Sizwe are reasonably well documented, far less so are those of its cultural wing, Amandla, which, during the 1980s, under the able leadership of Jonas Gwanga and others, took the struggle to the rest of the world, releasing records as far afield as Russia and Scandinavia.

This album, funded by the Swedish Labour Movement Record Company and recorded at Radio Luanda and Radio Zambia Studios, features a variety of SA music: choirs (“Umkhonto”), instrumentals (Skhulu Khumalo’s  “S’khulu Special”), poetry, a gumboot dance, and more upbeat numbers such as Esther Conco’s “Siyalila” (We are Crying), “Kulonyaka – this year of dedication” by Mike Semelele and “Vukani Mawethu“ by Lizwe Nene. These songs, according to the album notes, all serve to express “the joys and woes, despair and hope of the oppressed majority of the South African people. What is more, it is filled with determined optimism and confidence in the triumph of the struggle.”

The notes, written by Francis Meli, Amandla’s Director of Publicity, explain apartheid oppression to Swedish audiences and justify the armed struggle, as “organized, disciplined and well prepared resistance by the people,” rather than “'reckless' acts of ‘terrorism’....If there is anybody who does not believe this: let him listen to this record.”


U NYABELE - U Nopeni No Ipakama (1980)

Gallo / Ezom Dabu / Mavuthela, BL 230.
Producer: West Nkosi.
Engineer: Glen Pearce.
Composer: Spieelman Mahlangu


Neo-traditional vibes, full of slow, grinding tracks like "Storomela", all 
composed by one Spieelman Mahlangu. Albums like this grew harder to 
come by as the synthesizer/bubblegum sound took over. That doesn't mean 
it's not a great album. Dig that cover photo.

STEVE KEKANA - Umenziwa Akakhohlwa (1980)

EMI Brigadiers, JPL(E) 4005.
Producer: Tom Vuma.
Engineer: Owen "The Wolfman" Wolf


Blind vocalist and bubblegum great Steve Kekana had a string of hits during the 80's. This is a fantastic album full of spiraling organ intros and heartfelt vocal melodies. If you dig the traditional organ/keyboard sounds made famous by the Soul Brothers, this is guaranteed to satisfy.







HARARI - Heatwave (1980)

Gallo, ML 4447
Producers: Sipho Mabuse/ Alec Khaoli / Greg Cutler
Engineer: Greg "Genius" Cutler
Recorded at: Satbel studios


Gallo (Africa), MC 4447.
Producers: S. Mabuse/ A. Khaoli / Greg Cutler. Engineer: Greg Cutler.
Recorded at: Satbel Studios


Formed in the late 60s in Soweto, the Beaters changed their name to Harari after a three month tour to Zim in 1976. Hugh Masekela invited them to the USA in ‘78, but on the eve of their departure, leader Selby Ntuli died. The tour fell through and drummer Sipho Mabuse found himself in charge, soon leading the band in a more commercial, flamboyant direction. 

The first black pop group to appear on SA television, Harari were also the first to cross-over to white audiences. Undeniably funky, almost all their songs were sung in English, and at their peak, Harari were putting out a rock-funk hybrid with minimal “traditional” African influence. Their biggest album, Heatwave (1980) was released in the USA and led to a two-album deal with A&M Records. In 1982, their single “Party” (off Heatwave) entered the American Disco Hot 100. Other titles such as “Good Vibes”, “Dancing Singing” and “Get Funky”, the space-cadet outfits, nicknames and star-signs all reflect the dizzy escapism the band offered audiences of all races. Key personnel include bassist Alec “Om” Khaoli (Scorpio!), Charlie ‘Babas” Ndlovu (Taurus!) on keyboards and Masike ‘Funky’ Mohapi (Libra!) on guitar and vocals. 






SUPERTRAX – So Good To Be Here…Brothers and Sisters (1980)

Gallo (Africa) ML 4448
Producers: Billy Forest & Owen Wolf
Engineer: Owen Wolf
Recorded at: Gallo Africa Studios, Jhb


Jam-packed full of funked-up basslines and synthesized soul, Supertrax started the decade with a kick in the pants. Draw what you can from song titles like “Set me Free” and “Let Yourself go Freely”, but beyond the sleeve declaration that “this album is dedicated to love and harmony amongst all people,” political content takes a back seat to smoove love, with plenty of suitably sexy lyrics (“dim all the lights, sweet darling”). And like most good American funk albums of the time, there are a few slower numbers to change the pace and show what the musicans could do. 

Supertrax were led by Archie Maimane, who shared vocal duties with Juliet Mazamisa, formerly of the Mahotella Queens. The guitar player went by the name of “Ntokozo Good Nature” (aka Ntokozo Goodneshall Zungu, later in Stimela), while Jeffrey Makhunga played bass. Keyboardist Lazarus Kid Moncho, who began as a pennywhistler in 1958, went on to work with late great producer West Nkosi. Behind the scenes, a number of white hands helped out. Producer Billy Forest and engineer Owen Wolf were prominent on the scene at the time and respected musicians in their own right. According to Forest, Supertrax "were ahead of their time," industry-speak for “it was a great album, but it tanked.”