Six track album from eight piece band, produced by someone calling himself "The Black Mamba" along with Ronnie Robot. The title track is an instant classic, along with "Love Affair" and "Pusa Twala." The greatest album of all time? Listen for yourself...
(1985)
CCP / EMI/ family
I got it for 25 bucks from Revolution Records in Observatory, CT, not far from where she was born. Sadly, this album was to be the end of Brenda and the Big Dudes, with the mercurial singer parting ways with the band, wanting, deservedly, a greater percentage of royalties. Fassie continued to record the soundtrack of South Africa until her untimely death in 2004.
Before the fame, the scandals, the drugs and the tabloids, before the legend, there was just a young woman from Cape Town, a couple of dudes and some killer synths. Cool spot is 4 track EP, including obscure classics like "love action" and "mirror mirror".
Reamusic / Dream/ EMI RML (V) 2079 Producer: Danny Bridgens Recorded at: The Kitchen Sync
Production credits include former Big Dude and Mr. Fassie, Dumisani Ngubeni. Although it was the beginning of the 90s, the sound is still all 80s. Highlights include the title track and the synth-soaked "Ingehlulile Lensizwa".
Sello 'Chicco' Twala had by the late 80's dethroned Sipho 'Hotstix' Mabuse as the undisputed champion of the bubblegum sound. Although critics assume the mantle "bubblegum" denotes a degree of disposability, the genius behind it that for all its sweetness it never excluded overtly political sentiment. "Soldier" is a CLASSIC album. The title track was a hit that remains in the collective consciousness. Although Chicco's most famous composition, "Miss you Manelo", an ode to the soon-to-be released president-in-waiting Nelson Mandela, isn't included on this album, references to "Manelo" can be heard on another track, "Living in Exile". Also includes a bubblegum cover of Fela's "Lady" - a homage to pan-africanism in the face of apartheid isolation. "Miss you Manelo" was included was on the international version of the album, renamed "Soldier Without a Gun" (Philips, PG 281).
S1:
Gallo GRC
with Now! featuring outspoken political commentary on tracks like "Apartheid must go" and "Equal Rights." Other standouts include "The Big One", with its conversation intro and evil synths.
THE BIG DUDES - No Share For The Boys (1988)
CCP / Family / EMI, FLY (V) 4062441
Producer: Mally Watson
Those big dudes just never gave up, did they? Years after saying goodbye to Ma-Brr, and whittled down to just two, '88 saw this last gasp effort hit the shelves. Still, it's a decent album, with Mally Watson still behind the wheel.
SPLASH – Money (1988)
Gallo GRC, BL 624,
Producer: Hamilton Nzimande, Engineer: Dave Segal
One of the most popular and definitive bubblegum boybands from the era - combining sweet synths, pile-driving disco drum machines, sassy backing vocals from the ladies - and socially relevant (today more than ever) messages on tracks like "Cholera" and "Aids". Other highlights include the title track and "Vhophophi" - basically, the whole album's a winner.
B.T.R.5 – Come On Dance (1988)
Emhlangeni / Teal, CEL 557
Producers: Mzi & Hansford Mthembu
Great album from little known and mysteriously monikered trio B.T.R. 5. "Back from the Mountains" is one of my favourite songs at the moment - similar to Sox, it covers the rural-urban divide and migrant labour issues with synth-infused disco-funk and a radical "we are happy today" vocal chorus.
S1: 1. Don’t Leave Me Baby
2. Come On Dance
3. Back From The Mountains
S2: 1. Come On Baby I Need You
2. There Comes A Time
Eric Frisch / Red Fish
Besides this and a remix, others songs on the six-track album include the title track “Come Back Home,” a heartfelt call to a long-lost brother, “Siyafana,” "Mukokoto” (stolen car) and “Madlisa”. Sox’s signature brand of satirical humour got past state censors and forced his audience to question themselves. There is anger in the songs despite the at times comic tone - Sox’s own small size and rough voice helped him create the overall effect he wanted. His backing band, Public Affairs, deliver a catchy disco backbeat, that made sure it appealed to a young audience.
CCP / family / EMI
FLY (O) 4051621
Producer: Mally Watson
Engineer: Richard Mitchell
Determined to prove a point, the Big Dudes ventured out on their own with their ambiguously titled 1987 release, retaining producer Mally Watson and bringing in the prolific engineer Richard Mitchell. Big Dude number one Dumisani Ngubeni had also hit the road, leaving only Sammy Klaas and David Mabaso, who brought in Bushy Seathlolo on keyboards.
In the sleeve notes they pay tribute to Brenda and Dumisane. “They were times we will never forget. Perhaps one day our paths will cross again. But life goes on and so, following our decision to go our separate ways, we have decided to keep the Big Dudes fire burning in their hears and souls of our fans…. We are proud to offer you our debut LP. We loved recording each and every note and we know you won’t be disappointed.”It’s another four-track album, with “Supernatural Love,” “Kiss Kiss” and “Hamba Uzo Buya” complementing the title track. It’s a great album, full of hardcore synths and energetic backing vocals. But without Brenda, the Big Dudes became mediocre okes.
ZULU TRADITIONAL. Bought it for five rand - still sealed - at Milnerton Market.
Classic album on underground independent label Shifty, later re-released on CD on Tic Tic Bang (BANGCD06). Irrelevant typo: while the cover says “Sankomota”, on the album itself, spelling is "Sankomoto".
The end of an era as far as Harari were concerned. Time for Mabuse to strike a path as a solo performer.
Music Incorporated / EMI MINC (L) 1070
HARARI - Flying Out (1981)
Gallo (Africa), ML 4537.
Producers: S. Mabuse / A. Khaoli / G. Cutler
Following1980's Heatwave, Flying Out was a far poorer effort, and by then, Harari’s funk had fallen flat. They disbanded at the end of '82, although new lineups continued to release albums under Mabuse’s stewardship.
Teal / Music Machine / Mavuthela. MHL 6003
Producer: Marks Mankwane. Engineer: Richard Mitchell
Founded in ‘72 and led by Ray Phiri on guitar, the initially instrumental Cannibals in 1975 paired up with Jacob “Mpharanyana” Radebe, arguably the greatest male singer of the pre-disco soul era. As Radebe’s backing band, they recorded a string of hits over the next four years. Radebe died at the peak of his fame (his son John Moabi is currently an R&B wannabee in London). As with Harari, his death forced the remaining members to regroup and change direction. Released in 1981, Put Your Dancing Shoes On is an eight-track stomper of synthesizer-infused disco-funk, their second album since Radebe’s death. Side A features some of the best SA funk music ever made. In the words of Elliot Makhaya, then showbiz editor for the Sowetan who wrote the original sleeve notes, “The title tune is a mover. Unless you have iron-socks on, this item will get ya strutting across the dance-floor.” It followed by the equally infectious “We Got them Dancing” and “Hey Tonight”. My favourite is the end of side A, “Get off my Way,” for its funky as hell call and response vocals.
Behind Phiri was Ephraim Hlophe on keyboards, Richard Shongwe’s bass guitar and drummer Isaac Mtshali. Guest string and synthesizer arranger is Mac Mathunjwa, the uncle of Joe Nina. Special vocal efffects on "Genesis" by Lionel Peterson - 
later, forgettably, behind the Goolers (1991). “It’s like a feast of cannibals.” Makhaya’s notes continue. “But not the feasting on their own kind. It’s just a musical feast, dad! The Cannibals burn brightly and have proved inexhaustible. They deliver a soul-brew to warm ya aching soul.” The album was produced by the late Marks Mankwane, of Mahlathini and the Mahotella Queens. Phiri featured on Paul Simon’s Graceland in late 80’s. The Cannibals continued to enjoy major success, which grew in the 90’s as the band merged with The Movers to become the mighty Stimela.
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 good album. Dig that cover photo.
STEVE KEKANA - Umenziwa Akakhohlwa
EMI brigadiers, JPL(E) 4005.
Producer: Tom Vuma.
Engineer: The Wolfman (Owen Wolf).
Blind keyboardist 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.
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.
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.”
Below average album from unknown artist. Don't know what the story is here - how Ms. Motaung ended up in Germany during the 80's or how this album ever got made. Found it in Berlin.
Liner notes: "Pure Gold comes from Mzinmophe, Soweto. Like so many mbube groups, they are a close knit aggregation of ten singers all brothers or cousins, all in their twenties. Led by the expressive lead vocals of Freddy Gwala....The vocal harmonies would make for enjoyable listening even acapella but here they are wedded to a rocking dance rhythm...They deliver the best of both worlds: the pure expressiveness of traditional music and the high-energy dynamics of pop."
The Malopoets were one of SA's greatest musical exports during the dark days of the 80s, with Pat Sefolosha the one largely responsible for creating their signature sound - mellow yet danceable, uplifting yet political. Highlights on this album include tracks like "Azania", "Friday Night" and "Zuluman".
Perenial and prolific Mbaqanga hitmakers who have sold millions of albums in SA over the past three decades, comprised of mainstays David Masondo (vocals), Moses Ngwenya (keyboards) and Zenzele 'Zakes' Mchunu (drums), as well as a host of peripheral musicians, including Peter Harris on Fairlight computer. Their popularity was such that Virgin released this compilation. "What makes it the finest Soul Brothers record yet is the choice of the group's hardest, grittiest mbaqanga dance tracks, which underpin the compelling reasons for grouping The Soul Brothers with the greatest performers ever to emerge form South African" writes 
Donald McRae in the album's notes, where Moses Ngwenya explains the album title: "it keeps us right at the top of any township-jive explosion because these songs are like our mbaqanga volcano. They make people explode into song and dance! You just have to give into our jive!"
Famous stage musical later turned into a film starring Whoopi Goldberg and much later associated with a long-running fraud controversy. It began as the brainchild of Mbongeni Ngema, whose intention it was to "not only celebrate Mbaqanga music, but also the power of the children".
Featuring four basotho bands: Manka le Phallang, Manonyane a Moama, Majakathatha and Sebata Sebata, all based in the goldmines of the then Orange Free State. The album offers typical South Sotho (Shweshwe) music - accordian-driven and repetitive, with distinctive rap-like vocals, packaged for foreign audiences. Not everybody's cup of tea, but an interesting compilation nonetheless.
Live recordings of "Bring Him Back Home" and "Stimela (Coal Train)" and a fairly funky extended remix of the former.
Never one to rest on his laurels, Hugh changed labels to Warner and put some new musicians (along with some familiar faces) on his payroll for 87's "Tomorrow". Michael Timothy and Don Freeman shared keyboards and synthesizers. Includes the anthem "Bring Him Back Home" for Nelson Mandela, just three years before he was released from three decades of incarceration. Dedicated to Ugandan president Yoweri Museveni.
German compilation featuring a range of artists from Southern Africa and beyond...
My Zimbabwean housemate in Berlin almost had a heart attack when I showed this to her. Although not well known in SA, the Bhundu Boys were Zim's biggest band back in the day. Liner notes pay thanks to, among others, John Peel, as well as to Robert Mugabe "and the others who restored sanity to our country". Those were the days...
Formed in 1985 by Joseph Dumaku in Kroonstad, Free State. "Before they started recording they were singing at funeral services and that's where they were encouraged by the community to put their music on disc so that it would sound more powerful. Fortunately they were spotted by one of the producers at Teal Records who heard their music and decided that they shoud come to the studio for recording. Their first album with Teal Records was in Sotho entitled 'Kabelo Ya Ka'. They also did the very same album in in Zulu 'Okholwa ku Jesu'." Don't let the Gospel tag put you off, there are some killer synth-fuelled tracks on the album. Not too much variation - but all good!
Sax maestro Dudu Pukwana was a mainstay on the London jazz scene for decades during his exile from SA, along with bandmates Pinise Saul (vocals) and Lucky Ranku (guitar), all legends who sadly aren't always given the respect he deserves in their homeland. Django Bates, Mervyn Africa and Adam Glasser handle the keys on this album.
Like its predecessor "Techno-Bush", "Waiting" also features Fairlight programming by Peter Harris. The album boasts a constellation of local stars, most notably Bheki Mseleku (on tenor sax and keyboards). Cover of Fela's classic "Lady". Dedicated to Pauline Bowers Masekela. Found in Berlin.
Definitely not named after any future US presidents, 84's "Techno-Bush" features "Don't Go Lose it Baby", a top 10 hit in that country. A breath of fresh air from Bra Hugh, who had been living in exile for well over a decade already, spending his time in the US, and across the border in Botswana. With his afrobeat and funk days behind him, "Techno-Bush" showed a new, more electronic direction, with the flugelhorn master assuming keyboard duty in this album as well. Other highlights include "Getting Fat in Africa". Album is divided into a South side and North sides, instead of boring 1 and 2, or A and B. I picked it up in Ostkreuz/Friedrichshain in Berlin.
ZULU TRADITIONAL. Bought it for five rand - still sealed - at Milnerton Market.
Reamusic / Dream/ EMI RML (V) 2079 Producer: Danny Bridgens Recorded at: The Kitchen Sync
Production credits include former Big Dude and Mr. Fassie, Dumisani Ngubeni. Although it was the beginning of the 90s, the sound is still all 80s. Highlights include the title track and the synth-soaked "Ingehlulile Lensizwa".
Gallo GRCwith Now!Sello 'Chicco' Twala had by the late 80's dethroned Sipho 'Hotstix' Mabuse as the undisputed champion of the bubblegum sound. Although critics assume the mantle "bubblegum" denotes a degree of disposability, the genius behind it that for all its sweetness it never excluded overtly political sentiment. "Soldier" is a CLASSIC album. The title track was a hit that remains in the collective consciousness. Although Chicco's most famous composition, "Miss you Manelo", an ode to the soon-to-be released president-in-waiting Nelson Mandela, isn't included on this album, references to "Manelo" can be heard on another track, "Living in Exile". Also includes a bubblegum cover of Fela's "Lady" - a homage to pan-africanism in the face of apartheid isolation. "Miss you Manelo" was included was on the international version of the album, renamed "Soldier Without a Gun" (Philips, PG 281).S1:
Eric Frisch / Red FishBesides this and a remix, others songs on the six-track album include the title track “Come Back Home,” a heartfelt call to a long-lost brother, “Siyafana,” "Mukokoto” (stolen car) and “Madlisa”. Sox’s signature brand of satirical humour got past state censors and forced his audience to question themselves. There is anger in the songs despite the at times comic tone - Sox’s own small size and rough voice helped him create the overall effect he wanted. His backing band, Public Affairs, deliver a catchy disco backbeat, that made sure it appealed to a young audience.
B.T.R.5 – Come On Dance
Emhlangeni / Teal, CEL 557
Producers: Mzi & Hansford Mthembu
Great album from little known and mysteriously monikered trio B.T.R. 5. "Back from the Mountains" is one of my favourite songs at the moment - similar to Sox, it covers the rural-urban divide and migrant labour issues with synth-infused disco-funk and a radical "we are happy today" vocal chorus.
S1: 1. Don’t Leave Me Baby
2. Come On Dance
3. Back From The Mountains
S2: 1. Come On Baby I Need You
2. There Comes A Time
FRIENDS FIRST – Another Friend In Another City
Friends First / Boots / REA / EMI
BOL (V) 343
Strange, forgettable album.
SPLASH – Money
Gallo GRC, BL 624,
Producer: Hamilton Nzimande, Engineer: Dave Segal
One of the most popular and definitive bubblegum boybands from the era - combining sweet synths, pile-driving disco drum machines, sassy backing vocals from the ladies - and socially relevant (today more than ever) messages on tracks like "Cholera" and "Aids". Other highlights include the title track and "Vhophophi" - basically, the whole album's a winner.
THE BIG DUDES - No Share For The Boys
CCP / Family / EMI, FLY (V) 4062441
Producer: Mally Watson
Those big dudes just never gave up, did they? Years after saying goodbye to Ma-Brr, and whittled down to just two, '88 saw this last gasp effort hit the shelves. Still, it's a decent album, with Mally Watson still behind the wheel.
CCP / family / EMI
FLY (O) 4051621
Producer: Mally Watson
Engineer: Richard Mitchell
Determined to prove a point, the Big Dudes ventured out on their own with their ambiguously titled 1987 release, retaining producer Mally Watson and bringing in the prolific engineer Richard Mitchell. Big Dude number one Dumisani Ngubeni had also hit the road, leaving only Sammy Klaas and David Mabaso, who brought in Bushy Seathlolo on keyboards.
In the sleeve notes they pay tribute to Brenda and Dumisane. “They were times we will never forget. Perhaps one day our paths will cross again. But life goes on and so, following our decision to go our separate ways, we have decided to keep the Big Dudes fire burning in their hears and souls of our fans…. We are proud to offer you our debut LP. We loved recording each and every note and we know you won’t be disappointed.”It’s another four-track album, with “Supernatural Love,” “Kiss Kiss” and “Hamba Uzo Buya” complementing the title track. It’s a great album, full of hardcore synths and energetic backing vocals. But without Brenda, the Big Dudes became mediocre okes.
ABANGANI – Sivikele
CTV / music team/ roi, CT (V) 74. Producer: Abangani. Engineer: Phil Audoire
By the late 80’s, traditional forms were making a comeback with young urban audiences, in part prompted by mbaqanga-inspired projects of foreign enthusiasts such as Paul Simon, Harry Belafonte and Malcolm McLaren. Signalling a departure from the bubblegum trend, Abangani’s sound was more traditional, although Western fashion influence is obvious on the cover photo – shoulder pads and rolled up sleeves were big news.
The album’s extensive liner notes bear testament to the professionalism of the group, “The group was formed in 1979 by Tom Mkhize,” it begins, “and is a registered trademark.” Besides producers/composer Tom Mkhize, the band comprised vocalist Sibusiso Mbatha, Ishmael Ngwenya (keyboards) and Khabzo Mkhize (bass). “Through the years they have progressed with their music and have sold many gold records. Their fans write to them from all over Africa, and they even have fans in the USA.” The album was sponsored by the Ace Maize Meal Jazz Foundation, formed “to promote and advance the interests of south Africa Black Jazz in all its aspects.”
