Sounds of South Africa: A Musical Journey

As an experiment to find out how much South African musical knowledge it had, we asked the Artificial Intelligence system called ChatGPT to compile us this week’s mixtape. The following is a transcript of our conversation and the result:

Do you know what a “mix tape” is?
Yes, I’m familiar with the concept of a “mixtape.” A mixtape is a compilation of songs or music tracks, typically from different artists and genres, recorded onto a cassette tape or other medium. Mixtapes were especially popular during the 1980s and 1990s when cassette tapes were the dominant format for music distribution. People often made mixtapes to share their favorite songs with friends, or as a personalized gift for someone special. The term “mixtape” has evolved over time and can now refer to a digital playlist or a compilation album released by an artist, although the original concept of a mixtape remains rooted in the idea of curating a collection of songs for a specific purpose or theme.

We would like you to compile a 20 song mixtape to introduce an international audience to the music of South Africa, including a wide range of styles from that country, including – but not limited to – rock, pop, jazz, folk, reggae, mbaqanga, kwaito, and a range of styles to get a broad overview. It is important that all the artists are South African.
I have compiled a mixtape of 20 songs to introduce an international audience to the music of South Africa. This list includes a wide range of styles and genres to provide a broad overview of South African music:

  1. Miriam Makeba – “Pata Pata” (Afro-pop)
  2. Johnny Clegg & Savuka – “Asimbonanga” (Afro-pop, World Music)
  3. Ladysmith Black Mambazo – “Homeless” (Isicathamiya, Zulu A Cappella)
  4. Hugh Masekela – “Grazing in the Grass” (Jazz)
  5. Brenda Fassie – “Vuli Ndlela” (Pop, Kwaito)
  6. The Parlotones – “Push Me to the Floor” (Rock, Indie)
  7. Freshlyground – “Doo Be Doo” (Afro-fusion, Pop)
  8. Abdullah Ibrahim – “Mannenberg” (Jazz)
  9. Mafikizolo – “Khona” (Afro-pop, Kwaito)
  10. Simphiwe Dana – “Ndiredi” (Afro-jazz, Soul)
  11. Yvonne Chaka Chaka – “Umqombothi” (Afro-pop, Bubblegum)
  12. DJ Mujava – “Township Funk” (House, Kwaito)
  13. Mahlathini & the Mahotella Queens – “Kazet” (Mbaqanga)
  14. Die Antwoord – “Enter the Ninja” (Alternative Hip-hop, Rave)
  15. Jeremy Loops – “Down South” (Folk, Acoustic)
  16. Black Coffee ft. Bucie – “Superman” (House, Electronic)
  17. Spoek Mathambo – “Control” (Electronica, Afro-futurism)
  18. BLK JKS – “Molalatladi” (Alternative Rock, Art Rock)
  19. Lucky Dube – “Different Colours/One People” (Reggae)
  20. Mango Groove – “Special Star” (Afro-pop, Marabi)

This mixtape covers a variety of genres and eras in South African music, showcasing the country’s rich musical heritage and diversity. Enjoy!

Thank you. Do you know what “sleeve notes” are?
Yes, I am familiar with the term “sleeve notes” (also known as liner notes). Sleeve notes are the written material that accompanies a physical music release, such as an album or an EP, typically found inside or on the packaging of vinyl records, CDs, or cassette tapes. They can provide various types of information, such as:

  • Background information on the recording, composition, or production of the music.
  • Song lyrics.
  • Credits for the musicians, producers, and other personnel involved in the creation of the music.
  • Personal anecdotes or stories from the artist(s) or other contributors.
  • Artwork or photography related to the music or the artist(s).

Sleeve notes offer additional context and insight into the music, and they can help listeners form a deeper connection with the artist and their work. In the digital age, sleeve notes have largely been replaced by digital booklets, which can be accessed through certain music platforms, or by artist websites and social media.

Could you write (approximately 750 words) sleeve notes to accompany your 20 song selection?
Title: “Sounds of South Africa: A Musical Journey”
Welcome to “Sounds of South Africa,” a carefully curated compilation of 20 songs that showcase the rich and diverse musical landscape of South Africa. This mixtape is designed to introduce an international audience to a wide range of styles from this vibrant country, including rock, pop, jazz, folk, reggae, mbaqanga, kwaito, and more. We invite you to immerse yourself in these captivating sounds and explore the unique musical tapestry of South Africa.

  • Miriam Makeba – “Pata Pata” (Afro-pop)
    Known as “Mama Africa,” Miriam Makeba was a legendary singer and activist who brought South African music to the world stage. “Pata Pata,” released in 1967, remains her most famous song and features her distinctive vocal style alongside a danceable Afro-pop rhythm.
  • Johnny Clegg & Savuka – “Asimbonanga” (Afro-pop, World Music)
    Johnny Clegg, often referred to as the “White Zulu,” was a British-born South African musician and anthropologist. “Asimbonanga,” released in 1987, is a powerful anti-apartheid anthem that pays tribute to Nelson Mandela and calls for unity among South Africans.
  • Ladysmith Black Mambazo – “Homeless” (Isicathamiya, Zulu A Cappella)
    Formed in 1960, Ladysmith Black Mambazo is an award-winning male choral group that specializes in isicathamiya, a traditional Zulu a cappella style. “Homeless” was co-written with Paul Simon for his “Graceland” album and showcases the group’s intricate vocal harmonies.
  • Hugh Masekela – “Grazing in the Grass” (Jazz)
    Hugh Masekela was a renowned South African jazz musician and trumpeter. His 1968 instrumental hit, “Grazing in the Grass,” combines elements of jazz with South African rhythms, creating an uplifting and timeless tune.
  • Brenda Fassie – “Vuli Ndlela” (Pop, Kwaito)
    Brenda Fassie, dubbed the “Madonna of the Townships,” was a beloved South African pop and kwaito singer. “Vuli Ndlela,” released in 1997, is a high-energy track that showcases Fassie’s incredible vocal range and infectious charisma.
  • The Parlotones – “Push Me to the Floor” (Rock, Indie)
    The Parlotones are a South African indie rock band known for their emotive lyrics and anthemic sound. “Push Me to the Floor,” released in 2009, features driving guitar riffs and a soaring chorus, making it a standout track in the South African rock scene.
  • Freshlyground – “Doo Be Doo” (Afro-fusion, Pop)
    Formed in 2002, Freshlyground is a multiracial South African band that blends elements of Afro-fusion, pop, and folk. “Doo Be Doo,” released in 2005, is a catchy, feel-good song that celebrates life and the power of music to bring people together.
  • Abdullah Ibrahim – “Mannenberg” (Jazz)
    Abdullah Ibrahim, formerly known as Dollar Brand, is a celebrated South African jazz pianist and composer. His 1974 composition “Mannenberg” is considered a cornerstone of Cape Jazz and serves as a symbol of hope and resilience during the apartheid era.
  • Mafikizolo – “Khona” (Afro-pop, Kwaito)
    Mafikizolo is a South African duo that combines Afro-pop and kwaito elements to create infectious dance tunes. Their 2013 hit “Khona” showcases their signature harmonies and energetic beats, making it an irresistible addition to the mixtape.
  • Simphiwe Dana – “Ndiredi” (Afro-jazz, Soul)
    Simphiwe Dana is a talented South African singer-songwriter known for her Afro-jazz and soul fusion. Her 2004 song “Ndiredi” highlights her emotive vocal delivery and thoughtful songwriting, earning her a place among South Africa’s most respected artists.
  • Yvonne Chaka Chaka – “Umqombothi” (Afro-pop, Bubblegum)
    Dubbed the “Princess of Africa,” Yvonne Chaka Chaka is a South African music icon whose career spans over three decades. “Umqombothi,” released in 1988, is a catchy, upbeat song that showcases her powerful voice and a lively bubblegum pop sound.
  • DJ Mujava – “Township Funk” (House, Kwaito)
    DJ Mujava is a South African producer and DJ known for blending house music with kwaito influences. His 2008 track “Township Funk” features hypnotic beats and syncopated rhythms, making it a dance floor favorite in South Africa and beyond.
  • Mahlathini & the Mahotella Queens – “Kazet” (Mbaqanga)
    Mahlathini, known as the “Lion of Soweto,” and the Mahotella Queens were a groundbreaking mbaqanga group that combined powerful vocals with driving rhythms. Their 1987 hit “Kazet” showcases their unique sound, which helped popularize mbaqanga music both locally and internationally.
  • Die Antwoord – “Enter the Ninja” (Alternative Hip-hop, Rave)
    Die Antwoord is a controversial and provocative South African group that blends hip-hop, rave, and performance art. “Enter the Ninja,” released in 2010, captures their edgy aesthetic and confrontational lyrics, making them a standout act in the South African music scene.
  • Jeremy Loops – “Down South” (Folk, Acoustic)
    Jeremy Loops is a South African singer-songwriter and multi-instrumentalist known for his folk-infused sound. “Down South,” released in 2014, features catchy melodies, heartfelt lyrics, and a laid-back acoustic vibe that showcases Loops’ diverse musical talents.
  • Black Coffee ft. Bucie – “Superman” (House, Electronic)
    Black Coffee is a renowned South African DJ and producer known for his soulful house music. His 2010 collaboration with singer Bucie, “Superman,” combines deep, groovy beats with Bucie’s sultry vocals, creating a captivating dance track.
  • Spoek Mathambo – “Control” (Electronica, Afro-futurism)
    Spoek Mathambo is a South African musician and producer who pushes the boundaries of electronic music with his Afro-futuristic sound. “Control,” released in 2011, is a haunting and experimental track that showcases Mathambo’s innovative approach to music.
  • BLK JKS – “Molalatladi” (Alternative Rock, Art Rock)
    BLK JKS is a South African alternative rock band known for their genre-defying sound that blends rock, jazz, and traditional African music. “Molalatladi,” released in 2009, features intricate guitar work and powerful vocals, making it a standout track on this mixtape.
  • Lucky Dube – “Different Colours/One People” (Reggae)
    Lucky Dube was a South African reggae musician and one of the country’s most successful artists. His 1993 song “Different Colours/One People” is a call for unity and understanding, reflecting the spirit of the post-apartheid era and showcasing Dube’s distinctive reggae sound.
  • Mango Groove – “Special Star” (Afro-pop, Marabi)
    Mango Groove is a South African band that fuses marabi, kwela, and pop music to create a lively and upbeat sound. Their 1989 hit “Special Star” features catchy horn arrangements and infectious rhythms that capture the essence of South African music.

“Sounds of South Africa” aims to provide a comprehensive introduction to the music of this incredible country. The tracks on this mixtape represent a broad spectrum of genres, each with its own unique flavor and cultural significance. South Africa’s music scene is a testament to its rich history, resilience, and diverse heritage, and we hope that this collection inspires you to delve deeper into the sounds and stories of South Africa.

As you listen, you may notice themes of unity, resistance, and hope woven throughout the mixtape. These themes reflect the struggles and triumphs of South Africa’s past and present, showcasing the power of music to connect people across borders and cultures. Whether you’re dancing to the upbeat grooves of kwaito, swaying to the soulful melodies of Afro-jazz, or losing yourself in the hypnotic rhythms of house music, “Sounds of South Africa” offers a musical journey you won’t soon forget.

We encourage you to explore the works of the artists featured on this mixtape, as well as other musicians from South Africa who continue to shape the country’s diverse and evolving musical landscape. Thank you for joining us on this journey, and enjoy the sounds of South Africa!

Thank you. That is excellent work. Could you suggest a prompt to feed to an image generating tool to create a cover image for this mix tape?
Certainly! To generate a cover image for the “Sounds of South Africa” mixtape using an image-generating tool, you can use the following prompt:

“Create an album cover for a mixtape titled ‘Sounds of South Africa.’ The cover should evoke the rich cultural diversity and vibrant musical heritage of South Africa. Incorporate elements such as traditional African patterns, musical instruments, and the South African landscape, blending them together in a visually striking and harmonious composition. The color palette should be warm and inviting, reflecting the energy and spirit of South African music.”

This prompt should provide enough detail and context for the image-generating tool to create an engaging and visually appealing cover image for the mixtape.

Thank you
You’re welcome! If you have any more questions or need further assistance, please don’t hesitate to ask. I’m here to help. Enjoy your South African mixtape, and have a great time exploring the music!

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 – 1991

In 1991 there were only eight South African songs which made it onto the Capital Top 40 countdown. The top two songs of the year were both by Wendy Oldfield and only six other artists reached the Top 40 including the Radio Rats, the first ever Shifty Records artists to do so, after seven years of drawing blanks. Robin Auld, Big Sky Little Sister and Mango Groove were all back in the charts and there was a debut from Jo Day, with her first solo single, “Tender Love”.

The Radio Rats were the first previously commercially successful band to sign with Shifty Records and it is perhaps their fame which led to Shifty finally getting a song onto the Capital charts. The Radio Rats had a big hit with “ZX Dan” back in 1978 and this must have played a part in their success on Capital in 1991, especially as the song which made the charts – “Turn on the Radio” – was not even released as a single. It is also noticeable that many artists who charted on Capital over the years did so more than once while songs by other similar artists were overlooked. It seems to suggest that artists’ names as a form of branding certainly helped to spark further recognition.

Wendy Oldfield was the only South African artist to reach number one – for one week – with “Miracle”, while her song “Acid Rain” peaked at number 2. Robin Auld’s “Love Kills”, Big Sky’s “Slow Dancing”, Mango Groove’s “Moments Away” and the Radio Rats’ “Turn on the Radio” all failed to reach the top 20, while Little Sister’s “Peace on Earth” and Jo Day’s “Tender Love” peaked in the top 20 but we are not sure how high they reached because we do not have the charts for December 1991.

1991 is the last year we are able to provide a definitive list of South African songs which charted on Capital. We only have a scattering of top 40 countdowns for 1992 and 1993 and none at all for 1994, 1995 and 1996. The station closed down on 29th November 1996. If you have copies of any Capital Radio Top 40 countdown charts (from December 1979 through to 1996 when the station closed down) please get in touch as these will be able to help us fill some gaps.

Show Playlist + Poll

Capital 604 – 1990

Having featured all the South African songs to have charted on the Capital Radio Top 40 countdown in the 1980s we have decided to continue into the 1990s, although we only have compete lists for 1990 and 1991. Capital Radio continued to function until 1996, but we do not have complete chart listings from 1992 until the station closed down.

In order to provide a full reflection of the 1980s songs which charted on the Capital countdown, our 1989 playlist included four 1989 songs which entered the Capital charts in the first two weeks of January 1990. These will not be included in the 1990 playlist, but for the record these were: “Special Star” by Mango Groove, “Dance To Me” by Edi Niederlander, “Matchbox Full Of Diamonds” by David Kramer and “Sorrow (Your Heart)” by Trevor Rabin. Apart from these songs there were 11 South African songs which charted on Capital Radio in 1990, several of which had very successful runs in the Top 40.

“Boyz B Boyz” by MarcAlex and Little Sister’s “Dear Abbie” both spent two weeks at number one while Little Sister’s “Young Hearts” and Cinema’s “The Fire Of Love” spent one week at the top of the charts. All three Mango Groove songs peaked at number two: “Too Many Tears”, “Hometalk” and “Island Boy” (following “Special Star” which had reached number one earlier in the year). “Little Sister” by Little Sister and Jonathan Butler’s “Heal Our Land” both peaked at number 5,   while “Waiting For The Dawn” by Big Sky reached number 17. Cinema’s “Dancing Away With My Heart” only reached number 22, where it spent two weeks.

With the exception of Big Sky and Little Sister, who were newly formed bands, all these artists had charted on Capital in the 1980s, although Steve Louw of Big Sky had been part of All Night Radio, who did not chart on Capital but were around in the mid-1980s. Jonathan Butler first charted on Capital in 1985, Cinema and Mango Groove in 1987 and MarcAlex in 1989.

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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 – 1989

We end the Capital Countdowns of the 1980s with a bumper year of South African hits, with no fewer than eight songs making the top 5, four of which went all the way to number 1. In order to neatly round up the theme of South African music from the 1980s charting on the Capital countdown, this week’s playlist includes three songs which entered the Capital Countdown in January 1990 but which were released in 1989.

As we look back on the South African artists who charted on the Capital Top 40 Countdown in the 1980s we don’t see any groups who were around at the beginning of the decade but there were several prominent musicians from the 1970s and early 1980s who charted in 1989: Johnny Clegg began the decade on the very first Capital Top 40 performing “Africa” with Juluka and he was there yet again on the final countdown of the decade, this time with his subsequent group Savuka singing “Cruel, Crazy, Beautiful World”.

Trevor Rabin, who reached great heights locally with Rabbitt and later internationally with Yes, was still charting in 1989, this time as a solo artists with two singles from his Can’t Look Back album. Neill Solomon began the 1980s with his Uptown Rhythm Dogs, a band that did not survive very long into the decade but he was back in the late 1980s with the Passengers, who charted in 1989 with “Honeytown”. Lucky Dube released albums throughout the 1980s and finally charted on the Capital countdown in 1989 with two songs. Another musician who had been around throughout the 1980s (in fact from the early 1970s), Edi Niederlander, finally made it on to the Capital Countdown with “Dance to Me” from her second album. And David Kramer, who, like Edi Niederlander, was a popular musician on the 1970s folk scene and who had charted on Capital in 1986 was back again with “Matchbox Full of Diamonds”.

As indicated, four South African songs made it all the way to number one where they all spent one week: “Quick, quick” by MarcAlex , “Your Kind” by Pongolo, “Be Bop Pop” by The Spectres, and “Special Star” by Mango Groove (who also reached number 3 – for two weeks – with “Hellfire”).

“Together As One by Lucky Dube spent two weeks at number 2 but he only reached number 12 with his follow-up single, “Prisoner”. “It’s Only Me” by Rush Hour also peaked at number 2. Savuka’s “Cruel, crazy, beautiful world” peaked at number 5 while “Something To Hold On To” – Trevor Rabin reached number 6 and “Honeytown” by The Passengers reached number 8.

Edi Niederlander’s “Dance To Me”, David Kramer’s “Matchbox Full of Diamonds” and Trevor Rabin’s “Sorrow (Your Heart)” all failed to reach the Top 20.

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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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