Capital 604 – The Miss Parade: 1990

In 1990 a fair range of South African musicians charted on the Capital Radio Top 40 countdown, 15 songs in all, including four released in 1989 but which charted in early January. These included Big Sky, Jonathan Butler, Cinema (two songs), David Kramer, Little Sister (three songs), Mango Groove (four songs), Marc Alex, Edi Niederlander and Trevor Rabin. We have come up with a further eightteen songs from 1990 which we think ought to have charted on Capital.

Of those musicians who did chart in 1990 we have included an additional song by Big Sky (“Diamonds and Dirt”) but all the other musicians whose songs we recommend escaped Capital’s attention that year.

In February 1990 Nelson Mandela was finally release from prison and to celebrate this Bright Blue recorded the song “Madiba” but unfortunately did not release it at the time, which is a pity because it would have perfectly captured the celebratory feel so many people experienced on that momentous occasion. Another song that captured that moment was Brenda Fassie’s “Black President” which Capital mysteriously did not promote, despite the significance of Fassie’s sentiments. Roger Lucey made a welcome comeback to music in 1990. His “Cape of Storms” was written at the time of Mandela’s release. Lucey, who was then working as a TV cameraman recalls, “I came to Cape Town in 1990 to cover Mandela’s release and I swear the wind blew without a break for four months. I spent a lot of time out on the Cape Flats. Then winter came and the rain started …”.

Shifty Records began the new decade with some significant releases, including Tony Cox’s In.To.Nation (from which we have included “Dinaledi”), Jennifer Ferguson’s Untimely (from which we have featured “Where you gonna be tomorrow”) and the Radio Rats’ Big Beat (from which we have included “Diary of a Diseased Coke Rep”). We also feature former Shifty artists, Tananas with their songs “Shake” (originally recorded with Shifty before Tananas switched labels).

3rd Ear Music made a big comeback in 1990 and deservedly also feature in our choices for 1990. They released new albums by Juluka’s Sipho Mchunu, Umhlaba Uzobuya (The World is Coming Back), (from which we feature “Jomane”), former Shifty artist Simba Morri, Celebrating Life,( from which we have featured “Unity”) and Roger Lucey, Running For Cover, including (as mentioned) “Cape of Storms” . There was also a recording comeback from Tony Bird, who, back in the 1970s used to play alongside many of the folk musicians associated with 3rd Ear Music. Here we have included his song “Wings Like Vivian’s”.

South Africa’s first notable hip-hop group, Prophets Of The City released the Our World album from which we feature the title track. There were also great songs released by Yvonne Chaka Chaka (“Umqombothi”), Bakithi Kumalo and Robbi Kumalo (“African woman”), Mike Makhalemele (“The Guys”), Mahlathini and the Mohatella Queens (“Music of Our Soul’) and the Soul Brothers (“Umhlola”).

Finally, Piet Botha’s band Jack Hammer released their second album of polished blues-rock.

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 – The Miss Parade: 1983

1983 was the year in which the fewest South African songs charted on the Capital Radio Top 40 countdown: only eight songs made it. Yet this week’s playlist reveals that there were many more chart worthy songs. As per usual, there artists who charted but who had further songs that could have been hits, for example eVoid, Juluka and Via Afrika. But there were several others who inexplicably did not chart at all, such as Brenda and the Big Dudes (with “Weekend Special”), Steve Kekana (with “Night Boot Control”), Sipho Mabuse (with “Rise”) and Stimela (with “I Hate Telling A Lie”).

While Juluka had been experimenting with a fusion between western and South African musical styles for several years and Hotline had begun to do so in 1982, 1983 saw such musical hybridity becoming more of a trend than something unusual, especially with the very noticeable arrival of debut albums from eVoid and Via Afrika. In addition, The Dread Warriors and Splash provided a South African influenced reggae sound while The Boyoyo Boys, Steve Kekana, Sipho Mabuse, Letta Mbulu, The Soul Brothers and Stimela performed pop songs based in neo-traditional township forms. Dog Detachment and What Colours released songs influenced by the UK new wave scene and Sue Charlton, Lesley Rae Dowling and The Insisters released more mainstream pop songs. James Phillips, in his Bernoldus Niemand guise, continued the satirical tradition of the likes of Jeremy Taylor and David Kramer by using his voice as a vocal costume, critiquing society from the perspective of what Randy Newman referred to as an untrustworthy narrator.

1983 was also the year in which two members of Splash – Jose Charles and Rufus Radebe – were sentenced to effective four-year prison terms (later reduced to 17 months) for singing ‘revolutionary songs’ at a Wits Free People’s Concert. One of the songs was a cover of Steel Pulse’s “A Tribute to Martyrs”, which included references to Steve Biko and Nelson Mandela. They were charged with promoting violence and supporting the ANC, even though they argued in their defence that they were Rastafarians and as such were anti-violence.

Indeed, it was difficult to perform as a South African musician with left-leaning sympathies in South Africa. Pete Spong of the Dread Warriors noted that it was difficult for a band with a white and black members to travel together, especially when it came to arranging travel documents (including to neighbouring countries). Sipho Mabuse and Johnny Clegg both spoke about being stopped at road blocks and interrogated because of whites and blacks travelling together while touring, with Harari and Juluka respectively (Harari has a white woman manager who travelled with the group).

All the artist here have their stories about how difficult it was to be heard at the time. Fortunately we can give them a listen now.

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