Springbok Hit Parade Vol 1: SA Songs Covered

Do you remember when you stopped believing in Father Christmas? And do you remember when you first realised that Springbok Hits records didn’t feature the original artists? Quite remarkably, a series of records comprising session-musician covers of contemporary hits, not only shifted enough copies to make a profit, but actually sold hundreds of thousands of albums over a period of more than fifteen years, and became as much a part of the South African musical landscape as CNA record bars and the Pop Shop television show.

The Springbok Hit Parade series was conceived by Ken Talbot, making its debut in 1970 with the goal of providing South African consumers with affordable and accessible music hits. The series was inspired by the Springbok Radio Top Twenty on Springbok Radio on Friday nights, hosted by David Gresham. Released by MFP (Music For Pleasure), the series was initially produced by Robert Schröder, followed by Gresham, and later by Mike Pilot, who oversaw its final volumes in the 1980s.

It was a sort of coming-of-age thing for many (especially white) South Africans – to buy at least one Springbok Hit Parade LP – preferably from CNA or the OK Bazaars, where often low price special deals were on offer. And the series itself seemed to come of age in a sexist way, moving from animated art work to actual Scope Magazine-like photographs of scantily dressed women (the transition happened in early 1976, on Springbok Hit Parade no 26). The models were always white women: after all, these were Springbok hits, and only white people were allowed to be formally represented by the springbok – whether playing rugby, cricket, or posing on the cover of a Springbok Hit Parade record. However, black musicians could be covered by session musicians on the records, as is seen on this mixtape which includes songs originally performed by Joy, Lionel Petersen, Pacific Express, Letta Mbulu, Margaret Singana, and Steve Kekana.

The only significant change to the branding of this series was in early 1980 when the Springbok Hit Parade records became simply Springbok records, the first to mark this change being Springbok 47.

For many, the relationship with Springbok Hits follows the trajectory of a romance novel: we fell in love with Springbok hits records, thinking they were the real thing (we bought a few or more) and we had wonderful times together, but then alas, we discovered that Springbok Hits had cheated on us, they weren’t what they said they said were. We hated session covers, and we discovered they were exactly what we hated. So we broke up. The break up was sudden and it was nasty. They became a source of embarrassment and regret. Then many, many years later, we rekindled fond memories of them. We reminisce about them with our family and friends, we even begin to romanticise them. We discover that some of the sessions musicians were renowned South African musicians, and they were often good versions of songs. Some of us even hook up with ones we grew up with, giving them a curious listen on a lonely Friday night at home.

For this mixtape we have put together 20 Springbok Hit Parade sessions versions of songs originally released by South African musicians. Was that the mark of success? To feature on a Springbok Hit Parade album? You can decide! In the list of songs below we include the original South African artists, and the Springbok Hit Parade record on which each appeared.

  1. Ain’t Gonna Stop Til We Get To The Top (Joy, 47)
  2. Grips Of Emotion (Lesley Rae Dowling, 57)
  3. Man On The Moon (Ballyhoo, 51)
  4. Better The Devil You Know (Stingray, 46)
  5. Nightmare (Peach, 54)
  6. Tokoloshe Man (John Kongos, 5)
  7. Blue Water (Julian Laxton Band, 32)
  8. Buccaneer (Mccully Workshop, 37)
  9. You’ve Got All Of Me (Clout, 41)
  10. Charlie (Rabbitt, 29)
  11. Ek Verlang Na Jou (Sonja Herholdt, 23)
  12. Bouncy Bouncy Bounce (Lionel Petersen, 25)
  13. Give A Little Love (Pacific Express, 42)
  14. I Need Your Love (Letta Mbulu, 9)
  15. Mama Temba’s Wedding (Maragret Singana, 19)
  16. Feel So Strong (Hotline & Steve Kekana, 62)
  17. Vyfster (Lloyd Ross, 63)
  18. You’re Living Inside My Head (John Ireland, 42)
  19. Face In The Mirror (Century, 45)
  20. Paradise Road (Joy, 49)

Capital Radio 604 Listeners’ Top 25

During early lockdown in South Africa, in May/June 2020 former Capital Radio 604 listeners were invited to vote for their favourite South African songs of the 1980s. 18 people submitted their top 20 charts, in order of preference. For this mixtape we have decided to feature the top 25 songs from that chart. Songs were given 20 points if a number one on someone’s chart, all the way down to one point for a song listed at number 20.

Given that songs need to be known (and liked) by several people to be voted onto a chart like this, it is not a surprise that most of these songs are familiar to us, and are songs we would expect to see on an all-time-greatest chart. It is also not unexpected that many artists feature more than once: Bright Blue, Lesley Rae Dowling and eVoid all have two songs, and Juluka has three songs, with Johnny Clegg’s other band – Savuka – featuring a further song. Probably all of South Africa’s 1980s classics are included here. We hope you enjoy listening to them.

In no specific order, they are:

  1. Weeping – Bright Blue
  2. Clowns (See Yourself) – Ella Mental
  3. Shadows – eVoid
  4. Taximan – eVoid
  5. Scatterlings Of Africa – Juluka
  6. Man On The Moon – Ballyhoo
  7. Window On The World – Bright Blue
  8. Paradise Road – Joy
  9. Jabulani – Hotline
  10. Burnout – Sipho Mabuse
  11. Hey Boy – Via Afrika
  12. Here We Are – Face to Face
  13. Once In A Lifetime –Petit Cheval
  14. The Spaniard – Lesley Rae Dowling
  15. December African Rain – Juluka
  16. Slow rain – Celtic Rumours
  17. Johnny Calls The Chemist – Falling Mirror
  18. Ancient Dust Of Africa – Edi Niederlander
  19. Weekend Special – Brenda & the Big Dudes
  20. Baby You Been Good – Robin Auld
  21. Grips Of Emotion – Lesley Rae Dowling
  22. Mysteries And Jealousy – The Helicopters
  23. Lies – Jonathan Butler
  24. Africa – Juluka
  25. Asimbonanga – Savuka

South African Women Singers Volume 2


In our previous mixtape we featured twenty South African women singers and we acknowledged that there were too many noteworthy women singers to restrict to one mixtape, so we promised a second one. The intention was to feature another twenty women singers but that task proved too challenging, and so we have ended up with 22 songs this time around. And yet there are many more South African women singers who undoubtedly should have been included. But we are pleased that we have been able to showcase such an amazing variety of singers and hope that you enjoy listening to the selected songs.

Once again we have featured singers all the way from the 1950s and ’60s through to people who have appeared on the scene fairly recently. The earliest recordings included here are Dolly Rathebe’s “Unomeva (Isileyi Sam)”, Dorothy Masuka’s “Zoo Lake”, Sharon Tandy’s “Hold On” and Tandi Klaasen’s “Love Is What I Need Today”.

From the 1980s we include Joy’s “Paradise Road”, Mara Louw’s cover of “Take Me To The River”, Sue Charlton – of the Insisters – singing “Bluebeat”, Cindy Alter – of Zia – singing “Nobody Loves You (Like I do)”, Yvonne Chaka Chaka’s “Thank You Mr DJ” and Rebecca Malope’s “Cheated”.

Songs from the 1990s include Wendy Oldfield’s “Acid Rain”, Skye Stevensen – of The Led – singing “The Boy From Apricot Dreams”, Michelle Breeze – of Fetish – singing “Blue Blanket” and Vicky Sampson’s “Afrikan Dream” .

Into the 21st century we have “Ntjilo Ntjilo” by Gloria Bosman, “Zabalaza” by Thadiswa Mazwai and “Gimme The Music” by Unathi, all from the noughties, and more recent releases include “Isesheli” by Mandisa Dlanga (perhaps best known as a backing vocalist in Johnny Clegg’s band), “Marikana” by Lalitha, “Half Of A Woman” by Lucy Kruger & the Lost Boys, “Stay” by Adelle Nqeto, and the most recent release, “I Forgot To Be Profound Today” by Ruby Gill.

Once again, there is a wide range of voices and styles to enjoy, so dip into these songs and hopefully you will find several avenues to explore. Also, drop us a line with your recommendations for a third mixtape down the line.

  1. Ntjilo Ntjilo – Gloria Bosman
  2. Unomeva (Isileyi Sam) – Dolly Rathebe
  3. Zoo Lake – Dorothy Masuka
  4. Love Is What I Need Today – Tandi Klaasen
  5. Hold On – Sharon Tandy
  6. Take Me To The River – Mara Louw
  7. Bluebeat – Insisters
  8. Gimme The Music – Unathi
  9. Isesheli – Mandisa Mlanga
  10. Afrikan Dream – Vicky Sampson
  11. Paradise Road – Joy
  12. Marikana – Lalitha
  13. Zabalaza – Thadiswa Mazwai
  14. Half Of A Woman – Lucy Kruger & The Lost Boys
  15. I Forgot To Be Profound Today – Ruby Gill
  16. Stay – Adelle Nqeto
  17. The Boy From Apricot Spells – The Led
  18. Blue Blanket – Fetish
  19. Acid Rain – Wendy Oldfield
  20. Nobody Loves You – Zia
  21. Thank You Mr Dj – Yvonne Chaka Chaka
  22. Cheated – Rebecca Malope

Boy From The Suburbs

“What the @$%! was that1” asks Leon Lazarus as he invites you to listen to his personal mixtape of the sounds around him growing up in the suburbs of Johannesburg in the 70s and 80s, before setting out into the world, but his ears still tuned to the Southern Hemisphere. From Springbok Radio Pop to Punk to New Wave to Rock and Folk in the 70s, 80s, an 90s, this was the soundtrack to his upbringing in South Africa.

Clout – Substitute
This is where I begin. I was only four when the song dropped into the charts and yet I remember singing along to it with my siblings. It was a brilliant piece of pop music making and deserved its place in the international charts. I had the distinct pleasure of interviewing Cindy Alter a few years back, and I was completely start-struck.

Jessica Jones – Sunday, Monday, Tuesday
This is another piece of pop genius and an enduring earworm that I could sing along to fifty years after hearing it for the first time. I was only six when it came out, but my sisters had the single playing on repeat, so it is now fused with my DNA.

Maria – Clap Your Hands, Stamp Your Feet
You know that every seven-year-old would be clapping and stamping along to this South African pop classic. Back in 1973, this song was everywhere and remained on heavy rotation at least until I sprouted hairs in parts unknown.

Glenys Lynne – Ramaja
This was the first Afrikaans language song that didn’t drive me round the bend. In primary school, Afrikaans was already a problematic language for me. It brought with it all sorts of complications. As a Jewish kid in a government school, I was forced to sit through sermons delivered by domienees, sing the national anthem (which I refused after a time), and attend veld-school where a neo-Nazi took pleasure in beating the spit out of us. When I found myself enjoying this song, I was as surprised as the next person. I am sure I wouldn’t have admitted that in 1976.

Ipi nTombi – Mama Thembu’s Wedding
This was the very first live stage show I was taken to, back in 1976. It was the year in which my primary school was sent home for fear of the unrest spilling over from nearby Alexandra Township. I clearly recall walking through the grounds of the Civic Theater in Johannesburg and climbing the steps to the enormous lobby. I remember the excitement of finding our seats, and the curtain going up. Most of all, I remember Margaret Singana’s spectacular performance. Despite it being a controversial musical about the plight of black women and their migrant men written by two white women, the music continues to hold a special place in my heart.

Paradise Road – Joy
A black all girl group singing a beautiful, touching, and immensely enjoyable song was an important step along my path to shrugging off the decades of bullshit we had been fed by the Apartheid government. At a time when the country was tearing itself apart, this brave song had us singing along. Looking back, the chorus was wonderfully subversive: “There are better days before us and a burning bridge behind, fire smoking, the sky is blazing. There’s a woman waiting, weeping and a young man nearly beaten, all for love. Paradise was almost closing down.”

Rabbitt – Charlie
My sister-in-law was one of the hundreds of screaming fans that camped outside the Duncan Faure’s house back in the 70’s. She and I got on like a house on fire, and her infatuation with the band was catching. I like the band enough to be able to sing along, but I think they needed to find a place on this list more for the fact that they were ever present in my life through the late 70’s and early 80’s.

Ballyhoo – Man On The Moon
This song makes it into the list by osmosis. I was not a huge fan of Ballyhoo, but jolling in Joburg during the 80’s, you couldn’t escape them. If you walked through Hillbrow on the way to a disco or bar, you were bound to hear Ballyhoo spilling out onto the street from a dinner club or music venue. After a while, they just became part of the wallpaper, and then you found yourself humming the damned tune.

éVoid:- Shadows
I spent my teenage years in a club called DV8, drinking, smoking, and generally being a hooligan. éVoid regularly made an appearance in the basement dive and never failed to bring the house down. Shadows was their biggest hit, and it brings back the fondest of memories.

Sipho “Hotstix” Mabuse – Burn Out
I know, I know. You’ve heard it a million times. Make it a million and one. I love the song because it is so tightly intertwined with a memory that I recall like it was yesterday. My buddy Steven and I are gunning it down Louis Botha Avenue in Johannesburg at about 3am, on our way to a dice at the Pickin’ Chickin, and I do my radio DJ song ID over the iconic intro to Burn Out. Man, good times!

David Kramer – Botteltjie Blou
After matriculating, I started a law degree though Unisa and studied at the RAU library in Johannesburg. That’s where I first took notice of David Kramer. His posters were everywhere on campus, I remember getting a copy of Bakgat! from the record library and falling in love with it. I became a fan. To this day I have the same reaction as I did the first time I heard Botteltjie Blou. It is a sad song that pierces deep. I am instantly reminded of the terrible wave of deaths associated with the consumption of methylated spirits in the early 80’s. Back then, we spoke about it with a “shame, hey,” but the better I understood the world, the more I grasped how landless, poor, desperate, and brutalized people would go to any lengths to dull the pain, even drinking meths through a half-loaf.

Mango Groove – Pennywhistle
In the early 80’s, just out of matric, my circle of friends used to hang out at a club in Norwood called Quavers. It was a reasonably priced Jazz venue with great murals and a small stage in the corner. Steve, Mel, Lee, Gav and all the rest of us were regulars and could be found there at least once or twice a week downing flaming Sambucas with coffee beans floating in them, or late-night Irish coffees. Mango Groove was a regularly featured band and we landed up seeing them at least ten or fifteen times. It must be said that a good part of our gang lusted after Claire Johnston, so maybe the Sambuca wasn’t the only draw. Lacking sex appeal but perhaps the more memorable member of the group was Mickey Vilakazi, the trombonist. A showman with his instrument, he was both brilliant and fun to watch. Great memories.

Juluka – Thandiwe
I first saw Juluka perform live at the Free Peoples Concert on the WITS University sports fields. It wasn’t the last time. I was lucky enough to see the band bring the house down a few years later at Grahamstown’s Settlers Monument theater, and I attended Cleggs final farewell concert in San Diego. I remember hearing the song Thandiwe for the first time when my older brother and his friends had African Litany on the Hi-Fi. I can’t be sure, but today it feels like that was the moment I found the link between the music that was coming from Freddy’s PM9 powered record player in the back yard and the popular music on my radio. In the end, Juluka turned out to be crucial in shaping my attitude to Apartheid. Their songs helped break down my ideas of what being African meant and set in concrete my resolve to defy the SADF draft and do what I could to affect a different outcome in South Africa.
Johannes Kerkorrel en die Gereformeerde Blues Band – Ossewa
When the Voelvry tour came to Grahamstown in 1989, it was a lightbulb moment for me. Here was a group of Afrikaners who were pissed off about the same things I was. Even better, they played rock and blues and they were satirical and wry. It ticked all the boxes for me. I could have chosen a more political song from the tour, but honestly, I cracked up when I heard Ossewa for the first time. My family ran a motor spares shop in Edenvale, so the thought of cruising to Transkei at 160km/h in a V6 ox wagon with Elvis playing on the tape deck was brilliant!

Jack Parow – Cooler as Ekke
Jack Parow is one of those guys that figured out Afrikaans rap was waiting for a champion and a sense of humor couldn’t hurt. This is one of those songs that will remain evergreen for me.

Jack Parow and Valiant Swart – Tema Van Jou Lied
And then, Jack Parow showed his softer side by working with Valiant Swart to turn a well-crafted song into something extraordinarily touching and beautiful.

Vusi Mahlasela – Say Africa
The song Say Africa was written and originally performed by Dave Goldblum and appeared on his album Valley Road in 1997. Vusi Mahlasela took an already brilliant song and turned it into an iconic South Africa anthem. I find myself singing the chorus every now and again, especially when I am feeling a little homesick.

Urban Creep – Shot Down
I have always been a fan and admirer of Chris Letcher, not least of all because I had the pleasure of playing on a stage at his side. The fleeting moment our band went supernova at Jameson’s remains one of my most treasured memories. But he has never been better than when he paired up with Brendan Jury in Urban Creep. It gives me chills.

Springbok Nude Girls – Blue Eyes
I fell for SNG long after everyone else had. When I first heard Blue Eyes, I was already in the United States back in the early 2000’s. The song begins as a serene lullaby and then explodes into its signature fuzz. It is beautiful throughout and reminds me of a passionate argument with someone you love.

One Large Banana – Leave This Town
You might think I say this because I count Brett as my closest pal, but I have always loved his first EP Don’t Feed the Animals. It captures a moment in South African music and Grahamstown’s college vibe. I like to think it would have been the music I’d have been playing had we continued together in a band. More than anything, the songs are bloody catchy and turn into earworms immediately. A nod to Gareth Sweetman on Drums whose dad passed away recently, John Taylor on Guitar who is now quite respectable, and the smooth Jo Edwards with the golden pipes.

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.

Show Playlist + Poll

Capital 604 – The Miss Parade: 1982

There were thirteen South African songs which charted on Capital Radio’s weekly Top 40 countdown in 1982 but for this week’s mixtape we recommend a further 22 songs which we think should have charted on the Top 40 countdown that year. Of these, three are performed by some the 13 artists who charted in 1982: songs by Steve Kekana & PJ Powers with Hotline, Juluka and Lesley Rae Dowling, all of whom were on a bit of an artistic roll at the time.

As with 1981 we see a wide variety of musical styles with the new wave, ska and post-punk sounds of the Asylum Kids, Corporal Punishment, Dog Detachment , Flash Harry, The Gents, Storm and The Usuals. Once again David Kramer was on song with satirical observations about South African life and there were an increasing number of African styled infusions from the likes of Harari, Joy, Juluka, Kabasa, Steve Kekana & PJ Powers with Hotline, the Malopoets, Marumo, High Masekela, Pett Frog, Sakhile and Caiphus Semenye. Ramsay MacKay contributed another quirky pop song while Lesley Rae Dowling and Mara Louw appear with more conventional pop songs, although not in any way formulaicl.

Some of these songs were playlisted on Capital Radio: “Girl Gone Solo” – Asylum Kids, “Shame on you” – Flash Harry “Nobody Nobody” – The Gents, “State of Independence” – Joy, “Can’t stop myself” – Mara Louw and “Angelina” – Caiphus Semenya. In addition, various other songs by these musicians were playlisted in 1982: “Machines” – Dog Detachment, “Mama’s Leaving” – Lesley Rae Dowling (a 1981 song), “Down At Marlene’s” – Flash Harry, “No Going Back” – Steve Kekana and “Without You” Caiphus Semenya.

Once again, huge thanks to Marq Vas for helping us source a couple of hard-to-find tracks.

Show Playlist + Poll

Capital 604 – 1981

In 1981 Capital Radio was still broadcasting from Port St Johns in the Wild Coast, and still charting a new way forward with music policy. They continued to select songs from a broad spectrum including reggae (still not played on Radio 5), funk, soul, disco, pop, rock, country and post-punk influenced new wave. Juluka , whose ‘Africa’ was playlisted on Capital from the outset , offered a unique combination of Celtic folk rock and mbaqanga to add to the already eclectic mix of music Capital listeners got to hear on their radios.

Some of the South African acts which charted on Capital in 1980 did so again in 1981: City Limits, Joy, Juluka, Lastique and Peach but 1981 offered up songs by artists new to Capital Radio. Margaret Singana was already well-known to the South African audience but Capital introduced several musicians and groups on the release of their debut albums and singles. These included Lesley Rae Dowling, Hotline, Kariba, Morocko and Neill Solomon & The Uptown Rhythm Dogs.

Such was the difficult and transient nature of the South African music industry that on occasion some groups shared musicians who were either trying their luck with two or more bands at once or who had jumped ship in the hope of something more successful and lucrative. On many occasions a musician’s group broke up and they sought a new group to play in.

For example, of the groups who charted on Capital in 1981 Jethro Butow was a member of both Kariba and Morocko and Mike Faure was a member of Morocko but after they broke up he briefly joined the Uptown Rhythm Dogs (in 1982). By 1981 one-time Ballyhoo drummer Cedric Samson had become initially drummer and then vocalist for Morocko. After Clout broke up in 1981 Bones Brettell became the keyboard player for Hotline and Gary van Zyl became the bass player for Juluka, who were expanding from a duo to a fully-fledged band. Another member of the newly expanded Juluka was keyboardist Rick Wolf who had been a member of City Limits until their demise earlier that year. In turn, Wolf was replaced in 1983 by former Clout keyboardist Glenda Millar (formerly Glenda Hyam).

In 1981 no South African songs reached number one or two in the Capital charts. Of the top performing songs on the Capital Top 40 countdown “When you gonna love me” – City Limits peaked at number 3, “Nightmare” – Peach reached number 4, “Love chain reaction” – Joy spent two weeks at number 6 and “Impi” – Juluka spent two weeks at number 7. “Bowtie boogaloo” – Morocko reached number 10.

This mixtape plays from number 14 through to the number 1 South African song of the year as per performance on the Capital Radio weekly countdowns. 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.

Show Playlist + Poll

Capital 604 – 1980

When Capital Radio began in December 1979 it introduced playlisting which was strikingly different to that of the SABC’s Radio 5 music station. This affected all music chosen for radio play bit its impact was especially felt by South African musicians with cultural-political messages such as Juluka who were not played on SABC (in the early 1980s in particular).

In fact Juluka’s “Africa” was banned on SABC because of its political message and because it mixed English and Zulu, but it charted on Capital Radio, being the first South African song to reach number 1 on their weekly Top 40 countdown. Solo artists like Steve Kekana and groups like Harari, Kariba, Spirits Rejoice and Juluka, who performed South African/Western cross over styles often with culturally significant lyrics charted on Capital Radio in 1980, but mostly not on the mainstream SABC popular music channels (Spirits Rejoice being an exception). By playing these musicians, Capital Radio significantly impacted on the lives of their audience, instilling a sense of pride in a diversity of South African music, bringing together people who the apartheid government was trying to keep apart and by introducing their listeners to a broader spectrum of music, not narrowly chosen as appropriate for their race or ethnic group by the state broadcaster.

Of the top performing songs in 1980, “Africa” – Juluka was the only one to reach number 1, “Ain’t gonna stop” – Joy and Steve Kekana’s “Raising my family” peaked at number 2, while “Portable radio” – Clout reached number 3, as did “Shine on” by Spirits Rejoice which nevertheless went on to become the most successful of the South African songs that charted in 1980. “Oowatanite” – Clout peaked at number 4 and “Paradise Road” by Joy at number 5. “Party” by Harari reached number 8, where it spent three weeks before dropping down the charts.

This mixtape plays from number 12 through to the number 1 South African song of the year as per performance on the Capital Radio weekly countdowns. 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.

Show Playlist + Poll