Capital 604 – The Ones We Missed

In the course of putting together our series of songs that thought should have charted on Capital Radio in the 1980s, we missed out on a few songs that surely should have made it. Most of these we left off because we decided to restrict ourselves to one song per artist per mix tape.

These include songs by Bright Blue, Dog, eVoid, Jennifer Ferguson, Harari, Koos Kombuis, Mapantsula, Simba Morri, Edi Niederlander, No Friends Of Harry, Nude Red, Colin Shamley and Savuka. We like the Nude Red album so much that we decided to include two songs here, thus breaking our rule at the last opportunity! In addition, we have included Dudu Pukwana and The Softies because they ought to have been included to begin with, but they weren’t.

Thank you to anyone who gave us suggestions on what to include on this mixtape. We have you have enjoyed the series, and most importantly, we hope you enjoy this final selection for this series.

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Capital 604 – The Miss Parade: 1988

1988 was a poor year for South African musicians on the Capital Countdown: only eight artists with nine songs made the Top 40 (there were two songs by Cinema). As always, we have put together a playlist of additional songs which we think should have charted.
Once again, we have Shifty Records to thank for recording various musicians who otherwise would not have been recorded and thus more easily forgotten: The Gereformeerde Blues Band, The Kêrels, Koos and Tananas. Shifty got behind the Voelvry tour in 1988 and three of these groups: the Gereformeerde Blues Band, The Kerels and Koos were included on the Voelvry compilation album of that year. As the Voelvry spirit of white Afrikaans rebellion swept through the dorps and cities of South Africa it is strange that Capital missed out on the opportunity to capture that moment.

1988 saw further releases from now established artists: Bright Blue, Yvonne Chaka Chaka, Dog Detachment, Sipho Mabuse, Mahlathini and the Mahotella Queens, Malopoets, Mango Groove and Savuka all released great new music, while David Kramer was back with music from the Cape Town musical, composed by Kramer and Petersen. Veteran folk guitar player, Steve Newman, was back with a group formed with two established Shifty artists, Gito Baloi and Ian Herman. 1988 also saw the emergence of Ralf Rabie (Johannes Kerkorrel) who was the main force behind the Gereformeerde Blues Band. Both of these Shifty initiatives went on to greater mainstream success over the next decade and a half. 1988 also saw a once-off album from the Jazzanians. While they did not record another album Zim Ngqawana went on to enjoy a successful solo career.

The Psycho Reptiles also recorded their first and only album in 1988, and are still remembered for their single “Monster From The Bog”. Bakithi Kumalo had risen to fame through his collaboration with Paul Simon on the Graceland album and tour and he released his first solo albumin 1988. Shake Baby was one of several Carl Raubenheimer initiatives after his collaborations with James Philips (Corporal Punishment and Illegal Gathering) but although they were a popular band on the live circuit in Cape Town they never went on to release a full album. Koos were a bilingual English-Afrikaans avante garde punk band who sadly also only brought out one album. The Kêrels released their debut album in 1988 and their “Golden Days” single has ended up on the occasional compilation album.

This eclectic mix of songs makes for interesting and enjoyable listening. Sit back, turn up the volume and have fun!

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Capital 604 – The Miss Parade: 1987

There were fourteen South African songs that charted on the Capital Countdown Top 40 in 1987 and we suggest another sixteen which we think should have joined them. Two of these songs are by groups (Bright Blue and Savuka) who made the Top 40, but with only one song each. The rest were well-established musicians who somehow or other escaped the Capital music manager’s radar.

Once again their was a cluster of Shifty Records artists with some iconic songs deserving of a wider audience: Cherry Faced Lurchers, Jennifer Ferguson, Kalahari Surfers and Mr Mac and the Genuines. Syd Kitchen had been around for a decade and a half and finally recorded his debut album Waiting For The Heave, but he had to keep on waiting because his music was ignored by virtually everyone other than a few campus radio stations. All Night Radio had been around for a few years but were also battling to be noticed by radio stations. Bayete’s debut album also escaped Capital’s attention, as did anything ever released by Chicco, Mahlathini And The Mohatella Queens, Hugh Masekela, Sabenza, the Soul Brothers and Zia. Gothic band No Friends of Harry released an impressive debut EP but also failed to make the Capital Top 40.

The elephant in the room was the fear of the security branch and the possibility of losing the license to broadcast and so it almost went without saying that Capital would not playlist an overtly anti-apartheid song like Savuka’s “Asimbonanga” (although the slightly less obvious political song, “Missing” did chart in 1987). Perhaps this is why Capital ignored Shifty’s music, even though there were several classic songs which they released which would not have interested the security branch in the slightest, “Bay Of Bombay” by Jennifer Ferguson being one of them. Interestingly, the SABC sponsored a video of the song which they screened:

Capital could have got away with Chicco’s clever “We Miss You Manelow” in which he playfully laments the absence of someone called Manelow, but which everyone knew was Mandela.

Sadly, a lot of the exciting musical contests of the day seemed to bypass Capital. Be sure to give these a songs a listen now, they deserve your attention!

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Capital 604 – The Miss Parade: 1984

1984 was yet another poor year for South African artists charting on the Capital Radio Top 40 countdown: only nine songs in all. Two bands included in this week’s playlist did chart on Capital’s Top 40: Bright Blue with “Window on the World” and Juluka with “Work For All”.

1984 saw a continuation of some of the themes noted in 1983: there was a steady increase in musicians fusing South African neo-traditional and Western styles of music: Hotline, Juluka and Via Afrika all brought out new albums, eVoid recorded songs possibly for their next album and Bright Blue debuted with their first album. There was also a continuation of the post-punk/new wave scene with songs by Dog Detachment, Niki Daly, The Dynamics and Illegal Gathering. Happy Ships produced the quirky and catchy “Car Hooter” while there were yet again several artists with pop songs based in neo-traditional township forms: Brenda And The Big Dudes, Harari, Joy, Lumumba and Condry Zuqubu, Hugh Masekela, Sankomota and the Soul Brothers. There was also scope for musical styles not often included on our mixtapes thus far: A heavy metal song by Black Rose and Tighthead Fourie & The Loose Forwards contributed the lone country song on this week’s mixtape.

Among the musicians who appear on this week’s playlist there is a reminder of the repressive arm of the apartheid state. The Dynamics, Juluka and Harari were regularly stopped at roadblocks and questioned about people of different race groups travelling together (Harari’s manager was a white woman). Roger Lucey had found it increasingly difficult to find venues at which to perform and broadcasters were not interested in playing his music, and so he changed his name and musical style in an attempt to resurrect his music career. As Tighthead Fourie & The Loose Forwards he hoped to at least get airplay as a country artist. To no avail.

Meanwhile in 1984 Condry Ziqubu had begun to tour in Africa and the USA with Letta Mbulu and Caiphus Semenya, and in 1985 formed the Busa musical with several exiled and South African musicians and they toured several African countries including Nigeria, Burkina Faso, Ethiopia, Libya, Senegal and the ‘frontline’ states of Zambia, Botswana and Zimbabwe. On their return from the tour Ziqubu and the other members of the Busa cast had their passports confiscated and were harassed by the security police.

After releasing their debut album in 1984 Bright Blue were forced to take a two-year hiatus while two of their band members – Dan Heyman and Ian Cohen – underwent conscription against which they were strongly opposed. And while touring South Africa in 1984, eVoid’s drummer – Wayne Harker – was arrested by the Military Police because he had gone AWOL in order to participate in the tour. Former eVoid drummer, Danny De Wet, stepped in so that the tour could continue.

Uhuru were a Lesotho-based band who were banned from entering in South Africa because of their political lyrics (and the band’s name didn’t help). To get around this problem Shifty Records ingeniously took their recording studio to Lesotho (in the Shifty caravan) and recorded the band’s debut album there (it was also the first album Shifty recorded). The band in the meantime changed their name to Sankomota, which made it more likely that the album could be released in South Africa without repressive consequences. In time the band relocated to South Africa and continued to perform and release new music from their new base.

Once again, huge thanks to Marq Vas for helping us source a very hard-to-find track.

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Capital 604 – 1988

There were only nine South African songs that charted on the Capital Radio Top 40 Countdown in 1988 but for the first time all the South African songs made the top 10. Several of the artists to chart were not new to Capital: Jonathan Butler, Bright Blue, Wendy Oldfield and The Passengers had all made previous appearances; but there were debuts from South Africa veterans The Rockets (who had been around since the late 1960s), Cinema, The Spectres and The Believers.

We periodically have had difficulty tracking down copies of the South African songs that charted on Capital Radio, which has brought home how terrible the archiving of South African popular music has been. This week was especially difficult. We tried all our usual avenues and nobody we approached had a copy of Wendy Oldfield’s “Dancing in the Forest”, not even Wendy Oldfield herself.!

In the end we managed to track down a snippet of the song from the film in which it appeared, Mark Roper’s Dancing in the Forest (1989), chainsaw sound effects included!*

We also could not easily track down a copy of the “Papa, Please Come Back Home” by The Rockets but fortunately their manager, Alison Watt, was able to send us a copy of the song. It is difficult to imagine songs that reached the Top 10 on national radio station charts in the UK or the USA no longer being available, yet that is the situation in South Africa. We think it is both sad and shocking.

Of the South African songs to chart on Capital in 1988, “Papa, Please Come Back Home” by the Rockets spent two weeks at number 2.

Cinema very narrowly missed out on number 1 on two occasions with both “My Kind Of Girl” and “Inside And Out” peaking at number 2, and each staying there for just one week. Also reaching number 2 for one week was “Teddy Bear” by The Spectres.

Bright Blue’s “Where Would I Go?” spent two weeks at number 6, which was also the highest position reached by Jonathan Butler’s “Take Good Care of Me”, where it spent one week. Wendy Oldfield’s “Dancing in the Forest” spent two weeks at number 7 while “Got to Get Away” by The Passengers reached number 8 and “Romance” by The Believers peaked at number 9.

  • UPDATE: One person on the planet did have a copy and kindly posted it: Marq Vas – South African music super-collector – found a copy in his archive! Astounding! Thanks so much for digging this one out, Marq!
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Capital 604 – 1987

There was a healthy variety of South African music in the Capital Radio charts in 1987 from the wistful South African pop rock of Bright Blue, the Afro pop of Sipho Mabuse and Brenda Fassie to the political energy of Savuka and Hi-NRG Euro disco of People Like us, and the novelty studio sounds of Pocket Lips with several other artists making up the 14 South Africans which made the Top 40 countdown.

If there is one particular theme which characterises several of the performers who charted on Capital Radio in 1987 it is a sense of artistic reincarnation combined with renewed creativity. After over a decade performing with Sipho Mchunu as Johnny and Sipho and then more prominently as Juluka and then a short hiatus as a solo singer, Jonny Clegged re-emerged with his new band Savuka and with a far more overt political orientation to deal with increasingly troubled times in South Africa. This is clearly borne out in the song that charted on Capital – “Missing” – which dealt with the disappearance of political activists opposing the apartheid regime. Neill Solomon had a very short period of success on the Capital charts in the early ’80s with the Uptown Rhythm Dogs but in 1987 returned with the Passengers. Cindy Dickinson, who had first made her mark in South Africa as a solo artist and then with Syndicate in 1987, appeared on the Capital charts with People Like Us, who, like Savuka, were as or more popular in parts of Europe than they were in South Africa. Several members of the early ’80s kwela-ska infused band Pett Frogg re-emerged when they morphed into Mango Groove who developed a sound which captured a growing mood towards a more harmonious South Africa.

Also in 1987, Wendy Oldfield left Sweatband to embark on a solo career in which she could move away from a rock sound dominated by the band to explore her own pop-soul sound as a singer-songwriter in her own right, to create what she referred to as “a new kind of Wendy thing”. Also reinventing herself as a solo artist with her first solo album in 1987 was Brenda Fassie who left behind the Big Dudes and began a hugely successful solo career. Meanwhile, Bright Blue, who charted on Capital in 1984 with “Window on the World”, had taken a forced break of two years while Dan Hartman and Ian Cohen served two very reluctant years of conscription in the South African Defence Force. Bright Blue re-emerged in 1987 without former lead singer Robin Levetan but nevertheless with what was to become one of the anthems of the transition to a post-apartheid South Africa, “Weeping”.

Established artists such as Lesley Rae Dowling, Jonathan Butler and Sipho Mabuse continued to chart on Capital, as did Sweatband (still with Wendy Oldfield as vocalist) and new arrivals on the scene Pocket Lips and 909, both of whom developed more in the studio rather than on the stage.

The most successful of the South African songs on the Capital charts in 1987 were Mango Groove’s “Move Up” and Wendy Oldfield’s “The Real World” which both reached number 1. Surprisingly, “Weeping” by Bright Blue spent two weeks at number 2 but missed out on the top spot. Jonathan Butler also peaked at number 2 with “Lies” but lower down, at number 5, with “Holding On”. “It’s Amazing” by Pocket Lips reached number 3.

Savuka’s “Missing” got as far as number 8 while “Tonight” by Sweatband peaked at number 10, as did Lesley Rae Dowling with “When the Night Comes” and “Hold On” by the Passengers (where it spent two weeks). 909’s “What Are We Going to do About Love” and Sipho Mabuse’s “Shikisha” both peaked at number 20 while Brenda Fassie’s “Mr. No Good” only reached number 21 and “Hiroshima” by People Like Us peaked at number 22.

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Capital 604 – 1984

As with 1983 there were less than 10 South African songs on the Capital Countdown charts of 1984. No artist charted more than once and there was a far more commercial imitative character to the songs that charted than in 1983, with Juluka’s “Work For All” and Bright Blue’s “Window on the World” being the only songs that didn’t sound like the performers were copying USA or UK sounds. Indeed, Benjy Mudie at WEA is proud of the part he played in signing innovative South African bands like National Wake, the Asylum Kids and eVoid but he admits that the Working Girls were “the one time in my life to my absolute and internal disgrace I actually signed a band to make money.”

Juluka and Bright Blue on the contrary involved musicians exploring musical ideas, infusing South African and western musical influences. As Tom Fox of Bright Blue described, he listened to performers like the Soul Brothers and he “wanted to find out about the style, but not in a commercial sense. More like, really interested in the guitar interplay and the vocal harmonies, the chord structures and the rhythms and things like that.”

Many of these musicians were regarded as part of the cream of the crop of South African music at the time. In January 1985 the Concert in the Park (Ellis Park) was arranged to raise money for Operation Hunger to help children affected by hunger in South Africa. To attract a large audience the top acts of the time were invited to participate. Of those who charted on Capital in 1984, Pierre de Charmoy, Ella Mental, Face To Face, Feather Control, Juluka and the Working Girls all performed at Ellis Park. Bright Blue were invited but could not make it and instead wrote the song “Hungry child” and donated it to the cause. On the day it was performed by an ensemble of the performers at the concert and it was released as a single.

It was a generally poor year for South Africa musicians on the Capital Countdown in 1984. Of the most successful South African songs charting on Capital in 1984, Face To Face reached number 1 with “Here We Are”, Juluka spent two weeks at number 7 with “Work For All”, “Working Girls” by the Working Girls and “Mysteries and Jealousies” by The Helicopters both peaked at number 10 and “Window on the World” by Bright Blue reached a disappointing number 11. “Footprints” by Feather Control reached number 17 and the rest failed to make the top 20 at all.

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Capital 604 – Darren Scott’s Top 20


Darren Scott is the first guest DJ on Mixedtapes ZA, offering us his choice of South African music; in this case his Top 20 South African songs of the 1980s, including songs from 1979 which were around at the beginning of 1980.

This is the first of our occasional series of Guest DJ mixed tapes compiled by former Capital Radio DJ s.

These are ranked from No 20 through to number 1 on the mixed tape. Enjoy!

If you want to see the play listing prior to listening to the countdown you can view the order of the songs in this week’s poll below.

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