een 4 uur durende muziekspecial over Zuid Afrikaanse jazz, soul & funk door dj Eddy De Clercq & Frank Jochemsen. In dit programma gaat samensteller Eddy De Clercq terug naar de geschiedenis van jazz en de diverse invloeden van Nederland en Engeland in de muziek van Zuid Afrika. Vooral in Cape Jazz is dit duidelijk terug te horen maar ook in latere stijlen als township jive & kwela jazz zitten elementen welke Westers aandoen maar verweven worden met typische Zuid Afrikaanse melodieën en zang. Maar ook de excellente soul-jazz uit 1969 -een belangrijke periode in dit genre- komt aan bod, alsook de Mzansi House van 2014 naast enkele eigen producties van Eddy De Clercq & Friends, opgenomen in Zuid Afrika. Luister!
A 4 hour music special about South African music; jazz, soul & funk by dj Eddy De Clercq & Frank Jochemsen. Inthis program,compilerEddyDe Clercq dives deep intothe history of
South African jazz andthevarious influencesof the Netherlandsand England on the music ofthe country.Especially inCapeJazzthese influences are clear, butalsoin laterstylesastownshipjive&jazzkwelaWestern genres like R&B and jazz areinterwovenwith typicalSouthAfricanmelodiesandvocals. But also the excellentsoul-jazzof 1969–an important period in thisgenre-is discussed, as well as theMzansiHouse2014alongside someofEddyDe Clercq’s own productions, recorded in SouthAfrica.
The programme is presented in the Dutch language, but the music speaks for itself. Listen!
Vrije Geluiden Radio 6 20.00h-24.00h -26th July 2014-Theme: South Africa
as a bonus to my previous post The Flaming Souls ‘Soul Time’ 1969 South Africa here is another recording by The Flaming Souls, a 45 rpm single on Atlantic City, rarity from 1969 with vocals and a delicious funky breakbeat inspired by James Brown…enjoy!
Only a few studio-albums and a bunch of rare 7″ singles are known. In addition to the information found on electricjive I add the lp ‘Soul Time’ by The Flaming Souls as today’s post. This obscure group definitely deserves a higher ranking in popularity.
The Flaming Souls were produced by Teal record scout West Nkosi and members included Simon Twala, Philip Malela, Gerald Khoza, Herman Fox, Kenny Mosito and Condry Ziqubu. Their sound is based on a slow jam of groovy organ, guitar and funky drums, drifting loosely to the style of American counterparts like Booker T & MG’s with clear references to Newport jazz as well. Hence a title like ‘Newport Soul’ or the remake of ‘Take Five’. But it is ‘Monks Beat’ that steals the show in this category.
‘Soul Time’ contains a selection of moody instrumentals and grooves that breathe African soul, jazz ala Jimmy Smith or Monk Higgins, even the instrumental organ-based period by James Brown pops up, when he recorded for Mercury/Smash Records.
Different South African indepent labels like Up, Up, Up and Atlantic City have released the group’s recorded output but only locally,which might explain why their records are so unknown and hard to get nowadays. Surprisingly in 1969 , ‘Soul Time’ was released in South Africa on Number One Records, a sub-division of the budget label MFP, Music For Pleasure. Essential album that I like to share here today.
‘Soul Time’ by The Flaming Souls -Number One Records N.9022 (33YE 1005)-South Africa
Next post ;;;;; The Flaming Souls -Oh Darling 1969 Atlantic City
hey sista, go sista, soul sista -Township Soul & Boogie today’s post features a selection of genuine Township Soul & Boogie. Recorded, released and distributed in South Africa and neighbouring countries between 1981 to 1984. All 45’s originally come from the archives of a defunct radio station in Hillbrow, Jo’burg, hence the stickers on the labels. Some of these original records are extremely hard to trace after all these years, especially in the wild. ‘Bushman’ by Steve Kekana is well recommended and one of the better known titles . For me, the discovery of the soulful “Hamba Sibali Wami” by Masike’ Funky’ Mohapi remains one of the highlights of this compilation. Let’s go singing, let’s go dancing! From Cape to Nassau….
“Kala-Harari -Rock” was released in South Africa at the end of 1979. It was the group’s third album and the selection of songs leans heavily on their African roots. This is Harari’s first real return to Africa since ‘Rufaro’ which was the genesis of the Harari sound.
The concept of ‘Kala-Harari -Rock’ is based the raw wildness of the jungle, translated into music acceptable to the Western ear. File under Afrobeat, Funk, Disco. The standout track on this album is easily the instrumental ‘Soweto Sunset’ a mesmerizing funky groove, relaxed and powerful. Other favourites are’Safari’, ‘Jikeleza’ and ‘Elephant Dance’. But why not judge for yourself, the full album is available here on these pages for a limited time only. Enjoy!
the week starts with a lot of snow, wind and icy temperatures….Winter! A perfect time of the year to bring out some really warm and soothing South African sounds.
One of the albums I found on my recent South African trip last October catched my attention for the strange cover -the keyhole!-and some awesome obscure titles. This rare album came from a black radio-station and the fact that the last track on side B had been censored simply blew my mind. Scratching out the track with a nail (!) and obscuring the typography on the label and artwork of the cover is quite bizarre although it was not an unusual practice in South Africa’s dark days of Apartheid. The reason for censoring remains unclear since Kid Manotcha’s ”Up The Chiefs” is actually an instrumental track but therefore all the more intruiging. More on banned beats in a future post.
Ever heard of groups like The Fast Move, Soul Rhythmers or Black Lightening? Or Kid Moncho and Izintombi Zodumo?? Well, I hadn’t either until I got this album, produced by Almon Memela, who also wrote a few of the compositions presented here in today’s post, a pick up on the thread Township Soul & Boogie.
Most of the artists on this LP are probably studio-musicians who worked with Almon Memela on several recordings in the bump and soul genre, styles that were popular in South Africa in 1975.
The best known track is the lovely ‘Three Steps To Heaven’, a cover of an original song by Eddie Cochran, the signature sound of the late 1950s. This brilliant gem is one of the best love songs of the 20th century and presented here in a good-humoured reggea-vibe.
Umoya is a German based reggae band, founded in 1982. Its name is Swahili for “unity”. Their EP ‘Satisfy/ Party / Feels Good/ Oya Kae’ was released as 12″ in 1985. There might be a subtle difference in spelling the name but Umoja was formed in South Africa by Alec ‘Om’ Khaoli’s after leaving Harari.
This 45 rpm single “Oya Kae” was released that same year on CBS Records. The spelling of the name of Umoja is confusing since the German group recorded this seldom seen track. Alas, the pressing or mastering of this particular disc is not 100% but its rarity makes up for the sound quality.
Does anybody knows in which country this single was originally released??
in today’s post I want to highlight the work and the voice of a truly great South African singer who had her share of success but who also suffered from bad luck and discrimination. The tragic story of “Lady Africa”, Margaret Singana.
Her biggest hits are the uptempo boogie tracks ‘Where Is The Love’ and ‘We Are Growing’ and I guess that not many people will be familiar with the soul side of this versatile singer.
Just listen to ‘Cry To Me’ and ‘Stand By Your Man’, both sung in a deep heart-felt bluesy voice and backed by equally great musicians. Margaret Singana delivers and knows how to make these standards her own.
Her irrestible singing style was influenced by American R&B, deep Southern Soul, Black Gospel & Disco. Her vocal abilities can stand the test with those of Candi Staton and even Aretha Franklin, America’s First Lady of Gospel & Soul. But it’s Margaret Singana’s spirit and voice from deep within that defines the moment and accentuates her African roots.
MargaretSingana was born Margaret M’cingana in Queenstown in 1938 . As a teenager she went to Johannesburg to look for work in the music industry. She became the first black artist to feature on the white-dominated Radio 5 hit parade. Her version of “I Never Loved a Man The Way I Loved You” became a local hit. But due to strict laws for black inhabitants of South Africa she did not succeed to break through and she became a domestic worker, victimized by the ruthless Apartheid’s regime. Her employer however discovered her musical talent and introduced her to a record company.
Margaret Singana’s big moment came in 1973 with the release of ‘The Warrior called Ipi ‘N Tombia’, a reworking of the musical Ipi ‘N Tombi written by Bertha Egnos and her daughter, lyricist Gail Lakier.
In the following years, she released several other albums in South Africa, mostly produced by Patric Van Blerk which were a success in her homeland, but her performances in Europe yielded. Margaret Singana was nicknamed ‘Lady Africa’. In 1978 she had a stroke, but she recovered and came back. In the mid ’80s, she sang “We Are Growing”, the title song of the television series Shaka Zulu. This song became a No. 1 hit in the Netherlands a few years later. The Dutch released 12″ of Shaka Zulu ‘We Are Growing’ contains the original version, the extended remix and a song that is quite special for Margaret Singana as she sings in her native language isiXhosa, not in English. ‘Hamba Bekhile’ is a traditional song that women sing after brewing beer when they pass the calabash around the thirsty men to sample the brew. It’s also the name of an album that was released in 1978
But that hit was to be her final bow and the woman affectionately dubbed ‘Lady Africa’ died largely forgotten in 2000 at the age of 63, crippled and bound to a wheelchair and in a financial situation unfitting a star appropriately.