South African Musicians Covering South African Songs

Covers are an integral part of popular music. Some bands make a living out of playing covers, some musicians even make a career imitating another musician or band, covering their repertoire or a specific period of their music. This can take place the form of reduplication covers, in which live performances are approximated as closely as possible. Most commonly, musicians simply cover one or more songs by other performers during their career.

We have decided to celebrate cover versions of songs which are in some way related to South Africa. In this – the first mixtape – we are focusing on South African songs covered by South African musicians. The second will focus on foreign songs covered by South African musicians, and the third will feature South African songs covered by foreign musicians.

There are many motivations for covering another’s song, one of which is simply to choose a song which can make money, but often it has to do with paying homage to the original song or performer, and many of the songs included here fit that description. These songs tend to show a great deal of respect to the original version, in terms of tempo, melody and lyrics. Here one can include songs like Arno Carstens’ cover of Ballyhoo’s “Man On The Moon”, Johannes Kerkorrel’s cover of Bernoldus Niemand’s “Snor City”, Zim  Ngqawana’s cover of Abdullah Ibrahim’s “Chisa”, Miriam Makeba’s version of Hugh Masekela’s “Soweto Blues”, QKumba Zoo’s cover of Bright Blue’s “Weeping”, Sharon Katz & the Peace Train and Dorothy Masuka’s version of “Meadowlands”, made famous by Nancy Jacobs and her Sisters, African Jazz Pioneers & Thembi Mtshali’s cover of Miriam Makeba’s “Pata Pata”, David Kramer’s version of Roger Lucey’s “Dry Wine” , Urban Creep’s interpretation of the Cherry Faced Lurchers’ “Shot Down”, Vusi Mahlasela’s cover of James Phillips’ “Africa Is Dying”, Jennifer Ferguson’s version of David Marks’ “Master Jack” (made famous in South Africa by Four Jacks And A Jill), Tony Cox’s cover of Edi Niederlander’s “Ancient Dust Of Africa”, Sonja Herholdt’s cover of David Kramer’s “Skipskop”, Matthew Van Der Want and Chris Letcher’s cover of the Springbok Nude Girls’ “Blue Eyes”, Laurika Rauch’s version of Koos Kombuis’ “Liza Se Klevier” and Tonia Selley’s interpretation of another Koos Kombuis song, this time “Onder In My Whiskeyglas”.

Several artist included here have paid homage to Johnny Clegg’s music (whether with Juluka or as a solo artist). None of the covers included here have tried to imitate the crossover (Zulu-Western folk-rock) style of Johnny Clegg’s music and so while these songs remain true to the sentiment of the originals, they take them in to a different stylistic terrain. These include the acapella version of “Impi” by Not The Midnight Mass, and the rockier versions of “Great Heart” by Hog Hoggidy Hog, “Africa” by Wonderboom and “December African Rain” by the Springbok Nude Girls.

Two songs on this mixtape are an interesting form of cover song in which the cover versions include musicians who were part of the original version. David Kramer joins Jack Parow in his cover of Kramer’s “Biscuit And Biltong” while several members of the Gereformeerde Blues Band join with Arno Carstens and others to cover “Liefde”, originally recorded by the Gereformeerde Blues Band.

There are also socially interesting covers included here. Bernoldus Niemand turns the Radio Rats’ fairly international-sounding “Welcome To My Car” into a truly South African song, especially through his use of South African accent in his vocals. By joining together to cover the Freedom Children’s “Tribal Fence”,  Margaret Singana and Rabbitt go some way towards crossing the tribal fence they sing about. Finally, by sampling Hotline’s “Jabulani”, Prophets Of Da City, a Western Cape coloured hip hop band playfully pay homage to a commercially successful  white western/black neotraditional crossover song. To what extent their sampling of “Jabulani” becomes a cover (or not) is something to ponder.

We have thoroughly enjoyed compiling this selection of covers in which South African musicians have celebrated great South African songwriting and performance. So many emotions and moods are captured through these interpretations. We hope it drives you to go in search of some of the originals you haven’t heard, or even to re-listen to the originals as a matter of comparison. Also let us know if we have left out any of your favourite SA covers of SA songs: there’s bound to be a part two to this particular theme.

  1. Man On The Moon – Arno Carstens
  2. Liefde – Die Lemme
  3. Welcome To My Car – Bernoldus Niemand
  4. Snor City – Johannes Kerkorrel
  5. Chisa – Zim  Ngqawana
  6. Soweto Blues – Miriam Makeba
  7. Weeping – Qkumba Zoo
  8. Meadowlands – Sharon Katz & The Peace Train And Dorothy Masuka
  9. Pata Pata – African Jazz Pioneers & Thembi Mtshali
  10. Impi – Not The Midnight Mass
  11. Jabulani – Prophets Of Da City
  12. Great Heart – Hog Hoggidy Hog
  13. Africa – Wonderboom
  14. December African Rain – Springbok Nude Girls
  15. Tribal Fence – Rabbitt & Margaret Singana
  16. Dry Wine – David Kramer
  17. Shot Down – Urban Creep
  18. Africa Is Dying – Vusi Mahlasela
  19. Master Jack – Jennifer Ferguson
  20. Ancient Dust Of Africa – Tony Cox
  21. Skipskop – Sonja Herholdt
  22. Biscuits & Biltong – Jack Parow
  23. Lisa Se Klavier – Laurika Rauch
  24. Onder In My Whiskeyglas – Tonia Selley
  25. Blue Eyes – Van Der Want/Letcher

Conscription Deja Vu

“I am not going to be Putin’s cannon fodder, and neither should any Russian,“ said Zach the Russian, “I have never felt so free,“ he said as he burnt his military registration card. “There is no way back now,“ he added.

Zach is a well-known YouTuber, who started his channel talking about his daily life in Russia and travels abroad  18 months ago. Initially he covered the typical trivial YouTube fare, like showing his viewers around Russian supermarkets or Soviet-era housing projects and a visit to his grandmother’s dacha, but he has now pivoted to talking exclusively about the war in Ukraine as an exile in neighbouring Georgia.

Niki Proshin, another YouTuber started his channel about two and a half years ago and, like Zack, focussed on travel, local curiosities and – inevitably – his grandmother’s dacha – also now focuses exclusively on the war. He hasn’t left Russia yet (Update: he has now left), and thus manages to document anti-war protests, the effects of sanctions on living costs and the propaganda in the local media. Meanwhile the 1420 Channel conducts a lot of vox pops among other young Russians on the street about the war and conscription, with provocative questions like “Are you ready to die in Ukraine?”. The answers don’t always assume it is rhetorical.

Had our generation of white South African boys who opposed the country’s military in the 1980s had access –  in those pre-Internet days – to a global audience like YouTube, we imagine we’d have been producing very similar content. One cannot fail to have a strong sense of déjà vu listening to the concerns and issues Russian boys are having to face up to now that President Putin has announced a general mobilisation.

They discuss whether to stay or leave the country, whether to get involved in anti-conscription protests, they rage against their government’s policies. Some hope that their call-ups will be deferred because they’re at university. There is discussion about self-harm, and in one case that went viral, a young conscript had a friend break his leg so he couldn’t be called up.

Substitute Putin and co for PW Botha, Magnus Malan, etc, and to middle-aged South African ears, this is all very familiar. The experience was the source of a great deal of music both protesting an unjust war and chronicling the ordeals and testimonies of conscripts and conscientious objectors alike.

On the other hand, had our generation had access to The Internet and YouTube, perhaps we would not have had as much time to compose or consume so much great music. Music was, after all, one of the key cultural communication tools we had. We hope this selection inspires the boys in Russia resisting conscription into an unjust war by Vladimir Putin’s regime.

During the mid-late apartheid era white South African males were conscripted into the South African Defence Force to supposedly protect South Africa’s ‘border’ from anti-apartheid and other liberation forces fighting for the liberation of Angola, Namibia and South Africa. Throughout the 1980s the period of conscription was two years, followed by two years of call-ups to annual reservist-type camps. Many popular musicians wrote and performed songs against the war, conscription, and the unthinking militarised masculinity promoted by the SADF. This mixtape features a variety of those songs, and stands testament to the resistance to the SADF during that period.

There were some songs which questioned the purpose of the war. In the late ’70s National Wake (in “International News”) viewed the geographical border with Angola not as a place where the enemy was courageously fought, but where the troops and choppers were sent to commit atrocities which the population never heard about. Using suffocating imagery, they sang about how ‘they put a blanket over the border, they put a blanket into Angola … they put a blanket over the blanket, and then a blanket over that blanket’. Bright Blue (in “Who Is The Enemy”) meanwhile undermined patriotic notions of the border by describing it as a place in which to run around in the bush, playing silly games. They also questioned who the enemy was. The Asylum Kids asked a similar question in the song ‘Bloody Hands’, referring to war as a game that was played, but did it have to be played?  And In Simple English (In “Don’t Believe”) urged, ‘Please don’t tell me, we must fight to the end. There’s nothing left that I want to defend.’

These songs effectively questioned the purpose of the border war and the actions of the SADF in supposedly defending Christian values. Sometimes musicians sang songs from the perspective of soldiers. For example, Robin Auld “In “After The Fire”) dealt with the post-traumatic stress experienced by a soldier returning from the war, ‘whose life went up in smoke’. Roger Lucey (in “The Boys Are In Town”) sang of the boys returning from the border going out for a round for the fighters who died. Harold gets beaten because ‘he wondered aloud was it all worth it?’ And in “Caprivi Strip”, Via Afrika, use a play on words to suggest that SADF soldiers occupying Namibia involve themselves in sexual encounters with local women, probably forcibly: ‘Cross the border of anywhere, Touch my machine gun, If you dare, Do it Caprivi strip, Your camouflage, It slowly peels, Where you wound me, It doesn’t heal, Slowly girls, Bit by bit, Let’s do it Caprivi strip.’

Musicians also commented on the drudgery of daily life in the army, and in the process undermined border duty as a waste of time, of lives, and of intelligence. Supporters of wars are forever waxing lyrical about the honour and the glory, yet the reality is always more bleak. In contrast Illegal Gathering in their song “Willie Smit” sardonically suggested that all people did in the army was smoke up a smoker’s cough and ‘balles bak’ (sit around suntanning). Rather than turn to pray for support, Bernoldus Niemand (in “Hou My Vas Korporaal” – “Hold Me Tight Corporal”) ironically asked the corporal to hold him tight, to help him through his army experience while sitting around, playing war games with his best days, out of duty, not by choice. The Aeroplanes (in “National Madness”) described the civil war as a national madness tantamount to national suicide, ‘killing the brothers things left unsaid’.

Meanwhile, women were supposed to write letters of support, send parcels and wait faithfully for their men to return. The support and love of these loved ones was supposed to be sufficient to justify the danger risked by the military man.  Roger Lucey (in “The Boys Are In Town”) was one of the musicians who questioned this: ‘They say “think of your family, think of your friends,” But he knows that sentiment  won’t make it end.” Jennifer Ferguson in turn satirised the women-at-home-writing-letters-and-singing-a-song-of-longing in “Letters To Dickie”. The song (comprising snippets of letters) was for Dickie, ‘fighting for your country and me’. She promised to wait faithfully for him, she sent him a scarf knitted in khaki to match his uniform, but ultimately couldn’t resist the approaches of other men and fell pregnant. In response Dickie killed himself. Another story of an army suicide is related by David Kramer in “On The Border” – of a soldier who shot dead five other soldiers and then himself.

One of the gender themes which comes across in anti-war songs is a contrast between mindlessly obeying military orders and creative freedom of expression. Amongst South African musicians opposed to the South African border war there was antagonism towards the dehumanising and conformist path which entering the SADF involved. Militarised masculinity was a threat to thinking, caring, and independent South African men who did not believe that joining the military was necessary to be a strong and brave individual, standing up for his beliefs. On the contrary, it was felt that the military broke down these attributes, threatening creativity, compassion and intelligence. This is clearly expressed in the Cherry Faced Lurchers’ “Warsong”: ‘The old men in the top storeys, Organise another war, All this blood and guts and glory, Is this what life is for? How can they make me feel like somebody else when I’m already myself? How can they make me act like somebody else when I can act for myself?’

The Gereformeerde Blues Band (In “Energie”) also comment on the conformity of white masculinity, including in the SADF – ‘You must stand in your line, you must cut your hair short’. Likewise, the Kalahari Surfers provide a parody of conformity and blind obedience expected of soldiers in the South African Defence Force. In ‘Don’t Dance’ the singer calls on South Africans not to dance to the SADF’s tune:

Hey white boy get your feet off the floor
The Lord gave you legs to march to war
Your leaders want you in a sporting affair
So put on your boots and cut your hair
Don’t talk back or stop to think
Don’t dance

In the face of government indoctrination and military conscription ‘white boys’ were urged to get off their feet and move to a different beat. Musically this song is interesting. The catchy rhythm and beat makes people want to dance, but the audience is told not to dance. Similarly, the overwhelming message of the Nationalist government and the SADF was to serve in the defence force, to ‘dance’; yet the song urged conscripts not to go, not to dance. In “Window On The World” Bright Blue considered the confusion and resentment of conscripts who found themselves ‘marching everywhere, trying their best to escape … marching everywhere, not sure how to cope’.  Marching troops were thus portrayed in disarray, marching against their will. The song undermines the jingoism of the call to defend the country against the total onslaught. eVoid’s “Sgt. Major” evokes a similar sense of conscripts having to march left, right, according to the orders barked at them. The theme of resistance to conformist marching militarism is taken up by the Kalahari Surfers in “Song For Magnus,” a cover of “These Boots Are Made For Walking”, warning the Minster of Defence that one day those very boots would walk all over him.

In another evocation of gender binary thinking, conscientious objectors were ridiculed by the state as feminine and cowards, but Bright Blue retaliated by writing “The Rising Tide” about the brave decision made by David Bruce, who was sentenced to six years in prison for refusing to serve in the SADF. The song held Bruce up as a hero, someone to be admired, a role model. The song flew in the face of government propaganda about what form of masculinity constituted bravery:

But you know where you stand, you have raised your hand
You’re the first, you’re the first of a new generation…
And always, always remember your words have been heard,
We’re on your side…
Walking side by side
We’re the rising tide

However, while Bright Blue had praised Bruce’s stand against conscription, Tony Cox (in “Easy See”) simply sang of the urge to avoid fighting on the border by escaping: ‘You go away … you go away, Try to escape, Far from the frontlines, Go away … Don’t stay,

Just go away.” Yet Roger Lucey (in ‘The Boys Are In Town’) described the unsatisfying choice made by a homesick white exile who resented having had ‘to choose between leaving and losing your name’.

Listening to the songs on this mixtape reminds us of the confusion and turmoil of those days, of being forced to fight in an unwanted war, to go to prison, or leave the country. There are obvious parallels with other situations around the word since then and still ongoing. Fortunately there will always be resistant musicians, who capture such conflict through their songs.

  1. Window On The World – Bright Blue
  2. Warsong – James Phillips And The Lurchers
  3. Energie – Gereformeerde Blues Band
  4. International News – National Wake
  5. Don’t Dance – Kalahari Surfers
  6. Bloody Hands – Asylum Kids
  7. Sgt Major – eVoid
  8. Song For Magnus – Kalahari Surfers
  9. After The Fire – Robin Auld
  10. Don’t Believe – In Simple English
  11. Caprivi Strip – Via Afrika
  12. Who Is The Enemy – Bright Blue
  13. The Boys Are In Town – Roger Lucey
  14. Easy See – Tony Cox
  15. National Madness – The Aeroplanes
  16. The Rising Tide – Bright Blue
  17. Willie Smit – Illegal Gathering
  18. Hou My Vas Korporaal – Bernoldus Niemand
  19. Letters To Dickie – Jennifer Ferguson
  20. On The Border – David Kramer

Post ’94 Protest Music in South Africa

This week marks the second anniversary of mixtapes.ZA. To mark the occasion we have put together a mixtape of post-1994 protest songs, reflecting on how popular musicians have continued to speak out against injustice, despite the toppling of the apartheid government.

South African protest music against the apartheid system is well documented and has been featured in various mixtapes over the past two years. When, in 1994, the African National Congress came to power it was hoped that there would no longer be a need for protest music against injustices. However, extreme poverty and government corruption have continued. As the gap between the rich and poor grew, and public infrastructure deteriorated, some musicians began to protest the ongoing economic inequalities and government corruption through their music. Others also protested the relentless violent misogynist attacks against women which characterize life in South Africa.

This mixtape features a selection of music from different genres which tackle a cross-section of injustices. While there is some debate about what constitutes a protest song, for this mixtape we have selected songs which voice opposition to an injustice. Sometimes the songs are angry, other times they are mournful, and on occasion they are even humorous, when musicians use laughter as a weapon against injustice.

After the initial euphoria that came with the ending of apartheid, musicians began to voice concerns about greed and self-interest in the ANC government. In their 1998 release, “Put Off Saving The World”, Dorp tackled the problem of greed, both in society generally and within the government – “We’ve got inside information; On government masturbation; Don’t need no explanation; To come to a conclusion; It’s a fuct up situation.”

This situation worsened and as the early 2000s set in, service delivery was failing, infrastructure was falling apart and corruption was spreading. In “Potholes And Politicians”, Fuzigish drew a direct connection between government corruption and failing infrastructure: “On my way back home I hit another pothole; The government’s corrupted, the constitution is ill; All I seem to do is pay another bill.” While The A. K. Massive reflected that government lies and corruption put paid to dreams of a better future: “Ahh corruption! No more lies … In a country that teaches you to reach for the future, but be satisfied with less …” Similarly, in “Die Stad Bloei Vanaand”, Johannes Kerkorrel agonizes, “the dream was promised, but just another lie has been sold.”

During the Zuma years government corruption in the form of state capture was so appalling that Freshlyground called South Africa a “Banana Republic”:

All your people dying in freedom
Suffering a profound lack of leading
Are you even there when we call?
Are you a human, man?
Full of lies! Can’t believe what I’m hearing
From your lips a river of scheming
Poisoning all the water we’re drinking
Are we good to go?
Emergency
Discovery
No opportunity
It’s just another day in the Banana Republic
State of emergency!!!!

Freshlyground’s reference to the current situation as a “State of Emergency” especially rankled ANC supporters because it effectively compared Zuma’s abuse of power to that of the apartheid state, who tried to hold on to power through the declaration of a series of States of Emergency in the mid-to-late 1980s. Simphiwe Dana similarly draws a comparison between the two eras – in “State of Emergency”. She protests the way conditions in post-apartheid South Africa mirror the conditions facing the youth of 1976: “Only poverty reigns in our streets”. Lilitha’s “Marikana” also stands as a comparison between apartheid South Africa and the current ANC regime: this time miners shot dead by the new South African Police Services, defending the interests of mining capital.

Johnny Clegg’s “Asilazi” is “about an ordinary person who has to give up power to guarantee
their place in an uncertain tomorrow and the chorus is about those who have been waiting for
so long for this change to take place” (Johnny Clegg). While in “Zabalaza”, Thandiswa
Mazwai considers how those people waited in vain. She laments the state of South Africa and
asks how these atrocities can be happening in her father’s house, suggesting that the
government ought to be the father of the nation, securing everyone’s needs: “Why is it this
way? At my own father’s house; For their blood, sweat and tears; For their struggle and pain;
’Cause they gave up their lives for this.”

“Skunk Atavistic” by Lesego Rampolokeng & Kalahari Surfers is a stream of consciousness type dub poem with moments of bitter protest such as “Amandla for what? Not a fist you are clinching; It’s your sphincter.” Meanwhile in “Politics” Skwatta Kamp overtly and angrily protested the failure of the ANC government to deliver a better society to South Africans:

To me political parties are like escort agencies,
Those that fuck around the most get more money.
Of course they work hard to make their own pockets fat.
They don’t give a fuck about you and me it’s all an act.
Call me ignorant but I know my shit, I got direction.
Why the fuck you think I don’t take part in these elections.
Flabba signing out A-N-C you later.
Skwatta Kamp people’s thoughts are always greater.

Karen Zoid and Kaalvoet Prinses address the most appalling feature of South African society: endemic sexual violence against women. Zoid sings “Justice! Justice! Lock up all the rapists and thrown away the key” while Kaalvoet Prinses (Tremaine Barnes) who champions the Barefoot Campaign which supports victims and survivors of gender based violence, also protests violence against women with her call to action: “Women gave birth to this human race; And a new born girl gets a can of mace …”

Some musicians have used satire, irony and humour to critique human rights abuse and corruption. Witty and biting criticism is able to ridicule those in the wrong, and the subsequent laughter signifies moral triumph over the wrong doing.

In “Die Fokkol Song” (“The Fuck All Song”), Koos Kombuis makes humorous use of the term ‘fuck all” to ridicule and protest the government’s inability to provide South Africa’s basis needs. The song was released prior to the 2010 Football World Cup, and he introduced the song as though it was a welcome message broadcast to tourists arriving at the airport:

“Welcome to the airport, it’s the year 2010, I’m assuming you’re here to watch the soccer games. We finally have a chance to show the world our friendly democracy, so make yourself at home.

Fuck all petrol, Fuck all diesel, Fuck all TV, Fuck all power, Fuck all water in your whisky, Fuck all jokes to laugh about, Fuck all pills at the clinic, Fuck all doctors when you ask, Fuck all people to take the rubbish from your pavement… Welcome to South Africa. Yes, Welcome to South Africa.”

Roger Lucey set his song “Dalai Lama” to the tune of a traditional South African song “Daar Kom Die Alibama” (“There Comes The Alibama”) which apparently commemorated the visit of the warship, ‘The Alibama’, to Cape Town in 1863. Lucey made use of the similar sounding names to sing a humorously cutting critique of the Zuma government’s unlawful (pro-China) refusal to grant the Dalai Lama a South African visa to attend Desmond Tutu’s 80th birthday celebrations. In “House Of Parliament Blues” Tony Cox uses humour mock the shenanigans which go on in Parliament.

In “Blue Light Brigade” the Kalahari Surfers cut and paste Julius Malema’s outrageous verbal attack against a journalist to both criticize and ridicule his behaviour, which is characteristic of the general arrogance of the ruling party politicians (at that stage Malema was an ANC member), most clearly evidenced in the way they race through the streets escorted by the South African Police with no regard for road rules or the rights of the average citizen:

Blue light Brigade
not another cavalcade
to knock you off your bike
as they jump a red light
or beat you to the ground
like a dog
to the sound
of the sirens
and the violence
unleashed
when you express your outrage

When Justin Nurse’s satirical T-shirt company, Laugh It Off, produced a T-shirt which parodied South African Breweries’ Black Label beer (“Black Labour, White Guilt”), South African Breweries sued them. David Kramer recorded and contributed the song “More Reward” towards a fund-raiser CD to help with legal costs. The song protests South African Breweries’ practices: “As we raise out glasses now that freedom’s here; Does the working man really profit from the beer?”

SOIL 7T7 and Half Price protest racism and capitalism respectively. “Can’t Keep Us Down” by SOIL 7T7 is a protest song by means of mobilising people against racism. They sing, “You can’t keep us down; ‘Cos we are coming around .. And we’re never gonna give it up”. Half Price’s “Guess It’s War” also calls for people to mobilise: “we should fight for our freedom, I think that we should die for what we believe in. If you think that it’ll end up alright. That’s bullshit cause it won’t, no it won’t. Fight, fight, fight, fight, fight.”

What these songs show us is that while there are issues we need to protest, South African democracy allows for such protests to be voiced. Songs like these would most probably have been banned by the apartheid government and/or the South African Broadcasting Corporation. And so, for now, that’s one thing we don’t have to protest.

  1. Banana Republic – Freshlyground (2017)
  2. State Of Emergency – Simphiwe Dana (2012)
  3. Zabalaza – Thandiswa Mazwai (2004)
  4. Marikana – Lilitha (2016)
  5. 41 000 Sisters – Kaalvoet Prinses (2019)
  6. Justice! Justice! – Karen Zoid (2015)
  7. Asilazi – Johnny Clegg (2006)
  8. More Reward – David Kramer (2003)
  9. Skunk Atavistic – Lesego Rampolokeng & Kalahari Surfers (2021)
  10. Blue Light Brigade – Kalahari Surfers (2012)
  11. House Of Parliament Blues – Tony Cox (2016)
  12. Dalai Lama – Roger Lucey (2011)
  13. Die Fokkol Song – Koos Kombuis (2008)
  14. Can’t Keep Us Down – SOIL 7T7 (2003)
  15. Politics – Skwatta Kamp (2002)
  16. Put Off Saving The World – Dorp (1998)
  17. Potholes And Politicians – Fuzigish (2002)
  18. Ahh Corruption – AK Massive (2005)
  19. Guess It’s War – Half Price (2006)
  20. Die Stad Bloei Vanaand – Johannes Kerkorrel (2000)

The Best South African Music – 2021 – Vol.2

2021 was another year hindered by lockdown but many South African musicians and record companies were busy with new releases. This is the second mixtape featuring what we think are the best 30 songs of 2021. This selection is generally more relaxed than the previous one, so sit back, chill and enjoy …

There are a few musicians included on this second volume who also appeared on the first, although not in quite the same way. While previously The Kalahari Surfers performed with Lesego Rampolokeng, here they partner the IKD Band, led by Ivan Kadey, formerly of National Wake. They sing “Moonwatcher”.

Arno Carstens is the lead singer of the Springbok Nude Girls, featured in volume one, but here he appears on his own, with “Reason”, from his 7th solo album, Out Of The Blue Into The Light. Koppies have three vocalists: Victoria Hume, Chris Letcher and Matthew van der Want. Each gives the group a distinct sound. On the previous mixtape we included “# Time’s Up” with Matthew van der Want on vocals. This time Victoria Hume is on vocals, singing the haunting “Hospital Song”.

It has been over a decade since BLK JKS released the album After Robots (2009) and the EP Zol (2010) but in 2021 they were back with a new album, Abantu/ Before Humans, from which we have selected “Human Hearts”. There were also new pieces from two familiar jazz musicians – Bokani Dyer and Bheki Mseleku. Dyer’s “Ke nako” is taken from the compilation album, Indaba Is, curated by Thandi Ntuli and Siyabonga Mthembu. “Cosmic Dance” is from the posthumously released Bheki Mseleku album, Beyond The Stars. The album was recorded as a solo session in London in 2003. The session was set up by Mseleku’s musician and music scholar friend, Eugene Skeef, and it is Skeef who oversaw this release, working with Fred Bolza and Francis Gooding, co-founders of new record label, Tapestry Works.

Veteran South African guitarist Tony Cox released the album The World Went Quiet from which we feature “Bathed In Blue”, and another veteran South African musician, Wendy Oldfield released the album Salt, the title track of which is included here. Lucy Kruger and her backing band, the Lost Boys, entered the South African music scene more recently, although Kruger has now relocated to Germany. In 2019 she released the album Sleeping Tapes For Some Girls, the first in a planned trilogy of albums. In 2021 the second album, Transit Tapes (For Women Who Move Furniture Around), was released, from which we have selected the first single release, “Evening Train”. We look forward to the April 2022 release of the third album in the ‘tapes’ trilogy, Teen Tapes (For Performing Your Own Stunts). Mthata-born Nathi (Nkosinathi Mankayi) has been around for almost a decade, having won several South African Music Awards in 2015. In 2021 he released the single, “iThemba”, featured here.

Singer songwriters Dave Starke, Alice Phoebe Louw, Stanley Sibande, Gaellou, and Sarah Blake are also featured on this mixtape. Dave Starke’s “Burn After Reading” was released in December 2020 but sneaks in because we only came across it in 2021! Alice Phoebe Lou has been releasing new music at a prolific rate lately, with two new albums in 2021: Glow and Child’s Play. The title track of the latter is included here. Zambian-born Stanley Sibande released his debut album, Hopeless Dreams in August 2021. “Lavender eyes” is a single taken from the album. “Language of Kindness” is folk musician Gaëllou’s debut single, released in February 2021. Another debut single in 2021, “Precious Time” was released by Cape Town-based multi-instrumentalist and singer songwriter Sarah Blake. It sees out this mixtape.

2021 was a productive year for South African music. We have tried to capture a good glimpse of it over these two mixtapes and hope it will interest you into following some new musicians. As always, they depend on your support.

  1. Moonwatcher – Ikd Band & The Kalahari Surfers
  2. Human Hearts – Blk Jks
  3. Ke Nako – Bokani Dyer
  4. Cosmic Dance – Bheki Mseleku
  5. Bathed In Blue – Tony Cox
  6. Burn After Reading – Dave Starke
  7. Hospital Song – Koppies
  8. Evening Train – Lucy Kruger & The Lost Boys
  9. Child’s Play – Alice Phoebe Lou
  10. Ithemba – Nathi
  11. Salt – Wendy Oldfield
  12. Reason – Arno Carstens
  13. Lavender Eyes – Stanley Sibande
  14. Language Of Kindness – Gaellou
  15. Precious Time – Sarah Blake

South African Road Songs

For many people music and road trips are synchronous. Hardly ever is a road trip portrayed in a film without accompanying music as a soundtrack to the road stretching out ahead into the unfolding landscape. Music creates travel moods which cannot be captured in any other way. It can make one want to go on a road trip or perhaps it’s the other way round: road trips require music. Certainly, for many music lovers a road trip is cause for long deliberations over what music to pack in the cubby hole or add to a digital playlist. In the days when cassette players were regular features in cars, some of us spent ages putting together mixtapes, searching for that perfect road trip soundtrack. We knew to be careful to avoid songs with lots of ultra-quiet segments which were easily drowned out by the hum of the engine, or with volume swings that would necessitate continual groping for the volume control. One could become an expert in the road trip mixtape.

Clearly, car trip mixtapes can include music about anything and which capture any mood. But for this South African road trip mixtape we have chosen twenty songs by South African musicians which specifically refer to road trips in one form or another. From Bright Blue’s reference to “Taking a trip on a freeway, trying my best to escape” to All Night Radio’s song about driving at dusk, “with my windows open wide, lights are getting brighter as the sun is going down. There’s two more hours until I stop.”

Perhaps the song which most captures the spirit of road trips on this mixtape is “Lifetime On The Road” by Josie Field and Laurie Levine. These two singer songwriters formed a duo and promoted their debut and subsequent album by embarking on several road trip tours, travelling from town to town, day after day. The song captures the freedom of the road: “Rolled down the window, turned on the radio”, but at the same it expresses the drudgery of too much time on the road, travelling from gig to gig: “Left a town I barely know … so many places I’ll never call my own. A lifetime on the road.”

The tv show Going Nowhere Slowly romanticised the South African road trip, as the presenters journeyed from place to place, travelling down tar roads and gravel tracks, often to the accompaniment of music. It is therefore fitting that two songs from that programme are featured here: Liesl Graham’s “All Roads” and Seven Day Story’s “Going Nowhere Slowly” both of which capture the feeling of travelling on the road, music in our ears.

Many of the songs featured here use travel and the road as metaphors for aspects of our journey through life. Juluka often sang in metaphors and in this instance Johnny Clegg sings, “Spirit is the journey, body is the bus, I am the driver from dust to dust … Across this distance, this divide, I will be with you forever.” In “The Road Is Much Longer” Roger Lucey also uses metaphors to express his desire to cross the distance between himself and a loved one, although in this instance he is on the side of the road, trying to thumb a ride: “And now the night’s fallen and I’m nearer to home. And I hear you calling are you feeling alone? Well it’s up and down highways always returning.” The Gereformeerde Blues Band and Big Sky also sing about hitchhiking along the road while the unfortunate character in David Kramer’s “Matchbox Full of Diamonds” has to settle for walking along the road for hours, “under a sky that never cries”, yet he is nevertheless “happy as a hotel in the springtime, when the flowers bloom again.”

Also featured on this mixtape are Jack Hammer’s “Stay At The Wheel”, “Automobile” by the Blues Broers, Baxtop’s “Golden Highway”, Falling Mirror’s “Highway Blues”, “Rearview Mirror Blues” by the Radio Rats, McCully Workshop’s “Fast Car”, “Seat By The Window” by John Kongos, “Kelly’s Song” by Bobby Angel, Johnny Clegg’s “Ride In Your Car” and “Padkos” by Tony Cox, which is his acknowledgment of that very South African road trip tradition: of packing or stopping to buy food for the road.

If you can’t listen to this mixtape in your car we hope you can at least grab some padkos, sit back, imagine the road ahead of you and escape into the music.

  1. Window On The World – Bright Blue
  2. Hopetown 1975 (Stolen Gasoline) – All Night Radio
  3. Stay At The Wheel – Jack Hammer
  4. Ry – Gereformeerde Blues Band
  5. Hitch-Hike – Big Sky
  6. Automobile – Blues Broers
  7. Golden Highway – Baxtop
  8. Highway Blues – Falling Mirror
  9. Rearview Mirror Blues – Radio Rats
  10. Fast Car – Mccully Workshop
  11. Seat By The Window – John Kongos
  12. Spirit Is The Journey – Juluka
  13. Padkos – Tony Cox
  14. Life Time On The Road – Josie Field & Laurie Levine
  15. Kelly’s Song – Bobby Angel
  16. The Road Is Much Longer – Roger Lucey
  17. Ride In Your Car – Johnny Clegg
  18. All Roads – Liesl Graham
  19. Matchbox Full Of Diamonds – David Kramer
  20. Going Nowhere Slowly – One Day Remains

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.