the Bleached Zulu Pt 3 -The Shangaans -frontiers of Afrocentric Rock

If there is one white pop band that deserves to be crowned as the Bleached Zulu then it must be the South African group The Shangaans. They even adopted their name from an African tribe noted for their musical virtuosity. See previous post  for the song “Liwa Wechi”, the B-side of their hitsingle “The Click Song” (Columbia 45-DSA 612, 1965)

Now here are a few selections from their 1965 debut album “Jungle Drums”, remarkable fact is that both tracks were written by Miriam Makeba. The album was released in the UK and spawned many hit singles and a overseas career for the 5 young guys known as The Shangaans. Not a bad achievement considering the fact that the international boycot against South African apartheid then ruled the world.

The Shangaans -Ntijilo, Ntjilo

The fusion of conventional western world melodies and lyrics with pulsating African tribal rhythms –as perfected by South Africa’s top group The Shangaans –represents one of the most exciting, out-of-the-rut sounds ever heard on the British music scene. After hitting the highspots throughout South Africa, the five-strong Shangaans arrived in the UK in the summer of 1965 and immediately clicked in a big way with fans via two big –selling songs “Genzene” and “The Click Song”. Now comes their first album and the overall title ‘Jungle Drums’ aptly summarizes their unique, highly individual style of exotic, percussion-based pop music.

The use of stereophonic sound greatly enriches the never-ending cross-pattern of percussive sounds from a wide variety of authentic African instruments –including chopi piano, kalimba, and any amount of big and small tribal drums. Although basically an instrumental set –with such highspots as the throbbing revival of the Lou Busch favourite, “Zambezi”, and the kwela flavoured “Afrikaan Beat” –The Shangaans, nevertheless, are accomplished singers too, and show their paces in fine style on “The Lion Sleeps Tonight” (perhaps better known in some quarters as “Wimoweh”.

The Shangaans -Jikal ‘Emaweni

Who are The Shangaans? Their names are Grahame Beggs, Alain Woolf, Mark Barry, Bill Muller and Glen “Tich” Muller. They represent the cream of the South African music scene, since all five have made their mark in the past with other leading groups. Individually, they are brilliant musicians; collectively, they make a remarkable, multi-talented outfit. Grahame doubles lead, rhythm and 12-string guitars, plus maracas and African drums, whilst Alain handles the lead, vocals, penny whistle, and a host of percussion instruments. Organist Mark is also featured on piano, celeste, chopi piano, and vibraphone, and Bill Muller doubles drums, thumb piano and African drums. Younger brother Glen completes the picture on bass guitar, doubling African percussion.

musical selections from The Shangaans -“Jungle Drums”

Columbia Mono 33JSX 76, 1965 South Africa

A1 Taboo
A2 Yellow Bird
A3 Afrikaan Beat
A4 Watusi
A5 Skokiaan
A6 The Lion Sleeps Tonight (Wimoweh)
B1 Zambezi
B2 A Swingin’ Safari
B3 Ntjilo, Ntjilo
B4 Inhlazane
B5 Jikal ‘Emaweni
B6 Voodoo Drums

Bass Guitar, Percussion – Glen “Tich” Muller
Drums, Thumb Piano, Percussion – Bill Muller
Guitar, Vocals, Percussion – Grahame Beggs
Organ, Piano, Vibraphone, Celeste, Chopi Piano – Mark Barry
Vocals, Percussion, Whistle – Alain Woolf

Info taken from the liner notes written by Dave Wynn for “Jungle Drums” album released in 1965.

The Flames – Soulfire!! South Africa’s soul super group

The Flames -For Your Precious Love 1968

“For Your Precious Love” is a song written by Arthur Brooks, Richard Brooks and Jerry Butler, and performed by Butlers’ group The Impressions in 1958. It was released as a single on Vee-Jay Records and peaked at number 11 on the Billboard Best Sellers in Stores and Top 100 charts. The song was ranked as the 327th greatest song of all-time by Rolling Stone magazine in 2004.

The 1968 version in South Africa by Durban group, The Flames, reached the top spot on the local charts and has been considered a classic in the country ever since. Here are the lyrics of the song, covered by Otis Redding. The adaption of the song as performed by The Flames can be heard in this post.

For Your Precious Love

For your precious love means more to me

Than any love could ever be

For when I wanted you I was so lonely and so blue

For that’s what love will do

Darling, I’m so surprised,

Oh, when I first realized

That you were fooling me

Darling, they say that our love won’t grow

I just want to tell them that they don’t know

For as long as you, long as you are loving me

Our love will grow wider, deeper than any sea

And all the things in the world, in this whole wide world

Is just that you would say that you’d be my girl

(Wanting you) Wanting you,

(I’m lonely and blue) Whoa, lonely

That’s what love will do

For your precious love means more to me

Than any love could ever be

For when I, I wanted you I was so lonely and so blue

That’s what love will do

 ladies & gentlemen, here are The Flames!!

like most good posts on these pages this story starts with finding a 45 in a dusty garage somewhere in the Eastern Cape, South Africa. That was the beginning. Later on, I unearthed a battered album called ‘Soulfire!!’  that was still playable. But what a sound! And what a history!!

The Flames 1965 Debonair magazine

Soul ballads,  danceable tunes with the odd sitar thrown in the mix, pyschedelic pop with strong vocals by singers Steve Fataar,  Ricky Fataar and Blondie Chaplin; elements that  made me search for the perfect copy of their album ‘Soulfire!!’. Finally, in a warehouse somewhere in Durban (thanks Chris) I found a SEALED MINT copy of this rare gem. Now, that’s what you’ve got friends for!!!

But my search went on…

The Flames 1968 Drum magazine

All members of The Flames were born and raised in Durban, a huge melting pot, the third biggest city of South Africa in the Natal province. The city, along the Indian Ocean,  has the biggest Indian population outside Bombay and together with the Zulu native peoples and white merchants they build beautiful Durban; a harbor, a hub of frantic action and endless urban development. In the 50’s Durban’s coastline was famous for it’s scenic beauty and soon became a coastal resort, attracting many holiday makers and retired permanent residents.

The Flames -If You Think You’re Groovy 1968

‘Soulfire!!’ is without a doubt a masterpiece of South African soul music. From 1964 until 1967  the line-up consisted of  Steve Fataar on guitar, Brother Fataar on bass, Ricky Fataar on drums and vocalist Edries Fredericks on guitar. This was the lineup that produced the first two albums, and more singles. Edries left the Flames after having sung lead on both these albums. He  was briefly replaced by Baby Duval in 1967. The same year  the group was joined by Blondie Chaplin. He can be heard as lead singer on the single ‘For Your Precious Love’ released in 1968.  Together with  Ricky Fataar he became a  full member of the American super group The Beach Boys from 1971 to 1973, during which time the albums ‘So Tough’, ‘Holland’ and ‘In Concert’ were made and released.  Ricky Fataar also did session drumming for other records by individual Beach Boys members.

When The Flames arrived in the United States in 1970 at the invitation of Al Jardine and Carl Wilson of the Beach Boys, they changed their name to The Flame, since there was competition from reggae  group The Flames and James Brown’s own The Famous Flames. They started writing new material; powerful rockers, ballads, mood pieces  and symphonic masterpieces that got a release on Brother, a local Nashville, Tennessee record label. The album was produced by Carl Wilson and it must be their rarest release ever,  since it was distributed only locally in the beginning. Later on it was released in Uruguay, the Netherlands, the UK and Canada.

The Flame -Brother Fataar, Mike Love, Steve Fataar, Carl Wilson, Bruce Johnston, Dennis Wilson Ricky Fataar, Al Jardine and Blondie Chaplin-photograph courtesy of the Lee Dempsey Collection

‘Burning Soul’ and ‘Soulfire!!’ however, remain The Flames best known commercial albums. These have been re-issued many times over the years, mainly in South Africa, although ‘Burning Soul’ was released in Australia as well as in the UK.   Their music still stands the test of time.


Soulfire!! (mono edition)
label & number: Rave RMG 1234
date: April 1968

this article contains excerpts and pics courtesy of The Flames official website by Bas Möllenkramer.

the flames promo pic from compilation 'It's Happening 1967' . Fontana Records SA
the flames promo pic from compilation ‘It’s Happening 1967’ . Fontana Records SA

YEBO! Zulu Vocal & Jive pt 4

Mbaqanga developed in the South African shebeens during the 1960s. Its use of western instruments allowed mbaqanga to develop into a South African version of jazz. Musically, the sound indicated a mix between western instrumentation and South African vocal style. Many mbaqanga scholars consider it to be the result of a coalition between marabi and kwela. Check  YEBO! Zulu Vocal & Jive, Marabi Jive pt 3 for  ‘Lobola Mgca’  by Izintombi Zesi Manje Manje.

Here is a 45 by an another band that uses the same name  but only with a slightly different spelling; Izinsizwa Zesi Manje Manje.  Can it be the backing band of Izintombi Zesi Manje Manje without the singers??

Izinsizwa Zesi Manje Manje -Tarfontein

‘Tarfontein’ spells African Jazz,  it’s an instrumental and the date of release is unknown, I guess this was released between 1967-1969.

Simon 'Mahlathini' Nkabinde 1988

Simon ‘Mahlathini’ Nkabinde (1938 – July 27, 1999) became perhaps the most influential and well-known South African “groaner” of the twentieth century who formed the Mahlathini Queens outfit to record as a studio unit for the Gallo Record Company. During the late 60’s mbaqanga evolved into the more danceable mgqashiyo sound when bassist Joseph Makwela, from the group Makhona Tsohle Band and guitarist Marks Mankwane joined forces with Mahlathini. Their music soon became a national sensation, pioneering mgqashiyo all over the country to great success.

1967 saw the arrival of Izintombi Zesi Manje Manje, an mgqashiyo female group that provided intense competition for the Mahotella Queens. Both groups were massive competitors in the jive field, though the Queens usually came out on top.

Mahlathini & The Queens -Umkhovu

‘Awufuni Ukulandela Na?’ by Izintombi Zesi Manje Manje and  ‘Umkhovu’ by Mahlathini & The Queens are featured on ‘Next Stop Soweto’, a new compilation by Strut that was released at the beginning of March 2010.

The people at Strut have done a great job; immaculate choice of material, great restoring of the original 45’s, good cover art…even the pressing sounds excellent.

But why does some of the chosen material sounds so distorted?? Is it the mastering? Restoration of the original recordings??

This question can only be answered by listening to the original recordings and after doing so, I have to admit that some of the tracks on this compilation were recorded either in poor conditions or possibly by speedy producers who wanted to record as many tunes as possible within the limited  time scale of a  studio rented for the day.

Many titles are by totally obscure groups whose singles were short lived whilst other groups like Mahotella Queens and Izintombi Zesi Manje Manje gained popularity during their careers and who became South Africa’s best known popular artists.

‘Next stop Soweto’ comes as a double vinyl package whilst the CD package features an extensive booklet featuring detailed notes by compiler Francis Gooding alongside many previously unseen archive photos.


Essential Listening

‘Next stop Soweto’ vol 1 Underground Township Jive 1969-1975 (Strut 054)

compiled by Duncan Brooker and Francis Gooding

Volumes 2 and 3 will be released across Spring and Summer 2010 and cover rare SA soul, funk & Hammond R&B and jazz


West Nkosi Nabashokobezi -Sax Jive

For a period of fifteen years during the 1960’s and well into the 70’s, solo sax jives enjoyed an enormous popularity throughout the entire southern African subcontinent. The melodies were always simple but catchy and were carried by the saxophone, usually in conjunction with a guitar, violin, accordion or electric organ. A tight rhythm section underpinned the lead instruments using a drum kit and electric bass and often electric guitar as well.

Nkosi was one of the most succesful and influential sax players of that era. He toured continously, usually together with the Makhona Tsohle Band and the Mahotella Queens, and scored an impressive list of hit records. His music was made from different rhythms to suit all tribes living in South Africa. He took a little from each tribe, like Shangaans, Zulus, Pedis, Tswanas, Swazis, Xhosas, you name it…all their traditional rhtyhms. He took a little bit from each individual tribe and put a very strong beat on it. That alone gave his music a unique sound.

Makhona Tshohle Band in 1967

Then he used the real (western) drum and bass guitar to tighten up his music. He was one of the first people to have bought a western style bass guitar. Nkosi wanted to create his own thing, not music that was influenced by Cliff Richard, The Beatles and Rock & Roll. No, he aimed at entertaining his own people. He wanted to create more sounds for the African people…to introduce something new because technology was coming up and very influential in those days. A lot of people started buying decent hi-fi sets, no more wind-up gramophones.

West Nkosi Nabashokobezi -Two Mabone 1973

The music was the only weapon where people could be relieved within their feelings, also for the oppression that they had. The music was the only thing that could heal all those problems. If someone listens to the music, then automatically they start forgetting about their problems, get themselves enjoying that music. At the same time, the music had some sort of information towards the black people that they should be patient, things will be allright. It was this feeling that West Nkosi rapped about in his music. Like listen to ‘Two Mabone’, there’s a rap there. Those raps were designed in a way that black people could understand the message of what the musicians were talking about. Some of the rapping was to advertise the actual product, but some of the message was saying ‘wake up, open your eyes…look at the future, see what’s happening’.

West Nkosi and his sax -Dubaduba 1966

West Nkosi and his sax -Cowboy 1967

West Nkosi also wrote and produced his own material for other acts after 1970. Here’s one from 1982, it’s recorded for the Mavuthela group called ‘Nansi Lentombi’ and ‘Sewuyahamba Uyangishiya’ by Amaswazi Emvelo.

text based on an interview with West Nkosi 1967

from West Nkosi -original sax jive hits -GMP CDZAC 57 1991 South Africa

thanks to  friendly Matsuli for the photo of Makhona Tsohle Band in 1967

Township Jive & Boogie pt 4 -Zulu Vocal Girl Groups

greetings to all of you who visit these pages. After spending two months in the glorious summer of South Africa I just came back  to Amsterdam where the Dutch winter is hopefully near over. I brought back a few boxes of rare vinyl this time, lots of 45’s and a few great SA Jazz albums, hopefully some of this music  will warm the cockles of your heart.

It is quite amazing to find records like these in the wild, sometimes hidden in boxes of the usual thrift store stock. One has to dig deep to find treasures like this…

this post is about girl groups;  Zulu Jive Vocal from the mid 60’s up to 1984. The  two titles on Motella are by the Dima Sisters and Mthunzini Girls, two group names that were probably fabricated to cover the work of studio regulars of the Mavuthela recording team.

Mthunzini Girls -Uyangibiza 1967

Dima Sisters -Limathunzi 1968

The Mahlatini Queens -Asibonisane 1974

S’Modern Girls -Bantwana Base Afrika 1984

Other names like the S’Modern Girls remain totally obscure. The 78rpm disc by ‘The S’Modern Dolls’,  from the mid 60’s,  is probably by the same group recording under another name.

This disc is a true novelty as the record was pressed at 78 rpm speed, not on shellac but on vinyl. 78rpm records were pressed in South Africa throughout the 1960’s, long after nearly every other country with a record industry had abandoned the speed. So switching from  shellac to vinyl while pressing records on 78 rpm format must have been a short-lived experiment of an industry in transition. I’ve never seen a record like this before although the Plastik label has produced many 45’s  by producer David Thekwane.

another gallery of South African music on 78

Umtale Chipisa Band -Zuwa Rachona

Alfred Mchunu -Amadumbe 1965

Freddy Gumbi -Jika Jika Jive -1967 Sax Jive

Spokes Mashiyane -Banana Ba Rustenburg

The Lower Buttons – Intogeymy 1967

The Makala Singers -Championi

Three Petersen Brothers -Sugar Candy Cane

thanks to ILAM, Grahamstown SA

the Bleached Zulu

By the dawn of the 1960’s the impact of Zulu music and their culture had reached a worldwide audience, with the release of movies like ‘Zulu’ and popular records that incorporated some of the essential African elements without  giving credits to the originals. Think of ‘Wimoweh/The Lion Sleeps Tonight’ and the picture becomes clear.

The banner ‘Zulu’ was merely added for commercial purposes and served the entertainment industry like a watered down, bleached version of a Zulu original. Now here is a collection of records, all with a Zulu-theme, released in the 60’s and mostly produced in South Africa. Music that is galaxies away from the real thing but still worthwile in its own right.

the soundtrack from the epic 1964 movie ‘Zulu’ by John Barry, directed by Cy Endfield and starring Michael Caine, Stanley Baker and Jack Hawkins.

John Barry Zulu OST -Stamp & Shake

John Barry Zulu OST -The Monkey Feathers

A selection of Zulu Stamps are found on the B-Side of the soundtrack LP. These Zulu Stamps stem from an idea by actor Stanley Baker and are actually pop-reworkings of some of the main themes that Baker and director Cy Endfield thought would be a good commercial move to release.

If you are drawn to this disc with hopes of hearing any of the Zulu warriors singing as they gather for battle you will not find any such tracks here.  The Zulu Stamps are amusing though and entertaining. Later to be  released as part of The John Barry Seven catalog.

in 1964  the Zulu Stamps were re-created  by The Monkey Feathers, a Jo’Burg studio group that launched a new dance craze ‘The Zulu Stamp’. The titles on this EP are a  bit more rough than the Barry OST originals although they stay close to those arrangements , adding a touch of Shadows, stomping with additional Zulu vocals.

The Monkey Feathers -Big Shield

The Monkey Feathers -Zulu Maid

The Shangaans -Liwa Wechi

‘Liwa Wechi’ is the missing link between African tribe music and the Western world. Sounds like The Yardbirds with Shaka Zulu as lead singer.

The Petersen Brothers belong to one of the oldest theatrical families in South Africa, and are really brothers. The Three Petersen Brothers are versatile and polished artists, and have appeared on stage, in variety and as cabaret artists in every major town in South Africa, in addition to regular radio programmes. With the presentation of ‘On Safari’, their first LP recording, The Three Petersen Brothers invite the listener to go on a musical Safari through Africa. Through the hills and valleys of Zululand one can hear a song like ‘Fanagalo’, originally a hit for The Woody Woodpeckers or dance to ‘The Joh’burg Samba’ before packing bags to journey into a lovely valley in ‘Pondoland’.

The Petersen Brothers -Fanagalo

The Petersen Brothers -Joh’burg Samba

The Petersen Brothers -Pondoland

Joseph Marais, who had a popular radio show ‘African Trek’  reviews some of the folk songs of South Africa and drastically re-writes the original lyrics of  ‘The Zulu Warrior’, a tradional Zulu war cry. This war cry was first adopted by South African Forces during Word War 2 and the conviviality that usually accompanied its singing in various canteens throughout the world, popularized it with American G.I.’s. Many US veterans will testify to the fact that ‘I-Zig-A-Zimba…hold ’em down you Zulu Warrior’ climaxed many a boisterous evening spent in the company of their South African comrades-in-arms.

Joseph Marais & Miranda -The Zulu Warrior

Now hear the same song in the version by Sam Sklair, South African composer and conductor who scored many film, radio and television documentaries. In addition to arranging and conducting this happy blend of Africa and the West, Sam himself plays all the African instruments on these tunes. See also my previous post on ‘Gumboot dances’ by Sam Sklair.

Sam Sklair -The Zulu Warrior

Isaac ‘Zacks’ Nkosi

Spread out north of the city of Johannesburg is one of the oldest and funkiest townships in the country –Alexandra. History has it that an Afrikaner farmer once bought a number of farms around the modern day township. One of the farms, Zandfontein, became Alexandra Township in 1912. Alexandra produced some of South Africa’s music legends like Ntemi Piliso, Lemmy Mabaso, Zacks Nkosi and many others.

Isaac Zacks Nkosi

Isaac ‘Zacks’ Nkosi was a legendary saxophonist who composed many songs.

His popular band was City Jazz Nine, which boasted the talent of former members of the Jazz Maniacs. He had his own way of blowing the horn to create a unique African Jazz sound. “Our Kind of Jazz” (Gallo Records, 1975) was produced by Hamilton Nzimande and is a classic example of his originality.

“Kwasibasa” is a  tune  Zacks Nkosi recorded for CBS in the 60’s.  A-side “Left turn”,  with infantry style horns and a funky marching drumband.

Zacks Nkosi -Kwasibasa

Zacks Nkosi -Left Turn



In addition to jazz, mbaqanga (the name derives from Zulu, meaning something like steamed maize bread’) has become a style which has given South African music a direction. It is a blend of various styles, of which American jazz; the marabi and the kwela are the most important. Founded in the 1950s, mbaqanga soon took on a political dimension. Songs such as Azikwelwa (‘We won’t ride) supported the bus boycott of 1957 in Alexandra, while the removals in Sophiatown (which started at the beginning of February 1955 and took five years to complete) were sharply criticized in Bye, Bye Sophiatown and Asibadali (‘We won’t pay rent’), songs which were promptly banned on radio by the SABC, although black disc jockeys tried to get them on the air anyway. Mbaqanga became the pride of the urban blacks in the townships.

Michael Xabu (who gave the name mbaqanga to this type of music), Isaac ‘Zacks’ Nkosi and Elijah Nkwanyane formed the cornerstone of the mbaqanga. See my other post on African Jazz composer and trumpet player Elijah Nkwanyane.

excerpt from an original article “A reflection on music” by Jonas Gwangwa and Fulco van Aurich

Out of this world -Archie Silansky and his High Flyers with Vocalists; Bobby Angel, Vasco Cordoni, Maureen Rayson

“Out of this world” was the theme of the successful charity festival held in Johannesburg, where each night at the glittering ‘Bien Donne’ Restaurant at Milner Park honoured a different planet.

out of this world cover

Archie Silansky was a South African piano player in the “lounge/ light jazz” genre. He worked mainly in the late 1950s, early 1960s around Johannesburg and recorded several albums.

Having gone right around the globe with his popular Club International records, Archie Silansky now blasts off into outer space to continue his musical travels “Out of this world”.

Twisting into orbit with the High Flyers and vocally assisted by Bobby Angel, Vasco Cordoni and  Maureen Rayson, Archie presents rocket age arrangements of tunes dedicated to the various planets that have become his new ports of call, and to the gods who created them.

out of this world detail

Archie Silansky and his High Flyers

His travel schedule is as follows;

‘Twistin’ is out of this world’, a brand new tune, complete with countdown and actual blast-off sounds

Archie Silansky -Earth

MOON; ‘Shine on Harvest Moon’, ‘Lunar Baby’, sung by Bobby Angel

Archie Silansky -Moon

JUPITER; The King of the Gods: ‘Al di La’ which appropriately enough means ‘Out of this world’, sung by Vasco Cordoni

Archie Silanskyi -Jupiter

NEPTUNE; The God of the Sea: ‘Beyond the Sea’ sung by Bobby Angel

Archie Silansky -Neptune

VENUS; as Venus is the Goddess of Love, and love is the most popular theme of all time, we pay a return visit to hear Vasco Cordoni, an Itailian who looks very much like a Greek God himself, sings in Spanish, the song ‘Venus’

Archie Silansky -Return to Venus

HERMES; the Greek God of speed: ‘Speedy Gonzales’ –not really a Greek God but still very speedy, sung by Maureen Rayson

Archie Silansky -Hermes

MERCURY; the Roman God of speed: ‘Quicksilver’, sung by Maureen Rayson and ‘Alabama Bound’ with a real Southern Sound.

Archie Silansky -Mercury

RETURN TO EARTH: Maureen Rayson sings ‘Won’t you please come home, Bill Bailey’, and she is answered by Bobby Angel who sings ‘You’d be so nice to come home to’

Archie Silansky -Return to Earth

original liner notes from “Out of this world” by Archie Silansky and his High Flyers with Vocalists; Bobby Angel, Vasco Cordoni, Maureen Rayson -Gallotone 1244 probably released in South Africa in the mid-60’s

Mediterranean Cocktail at Franco Restaurant with Vasco Cordoni

Now here’s a disc that features singer Vasco Cordoni at the cocktail bar of the famous ‘Franco Restaurant’ in Johannesburg,  specializing in Mediterranean food and spirits

singer Vasco Cordoni must be of Italian origin and born in South Africa. He worked mainly in the restaurant/lounge–circuit in Johannesburg in the 60’s,  singing a well groomed repertoire of Mediterranean origins while specializing in Italian songs.

Vasco Cordoni -La Notte

Vasco Cordoni -Tasseparo na fioume

The album ‘Mediterranean Cocktail’ was released in 1966 while Vasco worked at the ‘Franco Restaurant & Cocktail Bar’. He can be seen on the cover posing happily at the bar, probably with the band that accompanied him, or maybe the guys may have been working at the bar, shaking cocktails.  No credits nor any liner notes to verify that…But the repertoire on this album is pretty and comfortable to listen to, the usual cocktail bar/lounge fare but only more ‘poppy’ at times and with a few unexpected turns in mood and style, like ‘Sha-La-la’ and ‘O Barquinho’, that beautiful Brazilian Bossa Nova….

Vasco Cordoni -Sha-la-la

Vasco Cordoni -O barquinho

Vasco Cordoni -Se to vieni con mico

Vasco Cordoni -Volare


Have a go, order a Limoncello Martini and sip away those blues


  • 1/2 ounce limoncello
  • 1 ounce vodka
  • 1 lemon twist
  • Directions

Shake with ice and pour into a martini glass. Garnish with a lemon twist.