BEYOND MEMORy

Recording the History, Moments and Memories of South African Music

From the diary of Max Mojapelo Edited by Sello Galane

AFRICAN MINDS Published in 2008 by African Minds 4 Eccleston Place Somerset West 7130 www.africanminds.co.za

Originated by KAMR – Kgapana African Music Records 12 Rio Grande Street, Westenburg, 1699, Polokwane, SA [email protected] P.O. Box 968 Oliefantsfontein, 1665

Copyright © 2008 by Thamagana Maxwell Mojapelo

All rights are reserved. No part of this book may be used or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publisher.

ISBN 978-1-920299-28-6

Produced by COMPRESS.dsl www.compressdsl.com Proofread by Karen van Eden

Cover images:

2 1

3 1. chris Ledochowski / South (africanpictures.net) 2. Motlhalefi Mahlabe / South (africanpictures.net) 4 3. Paul Weinberg / South (africanpictures.net) 4. Rodney Barnett / South (africanpictures.net)

Great care has been taken to acknowledge all sources used in this book. If, through an inadvertent oversight on our part, any information has been used without acknowledgement thereof, we undertake to correct the matter as soon as it is brought to our attention. Equal care has been taken to spell correctly the names of bands, their members and other people who appear in this book. However, should you note any incorrect spelling(s), please e-mail the publisher on [email protected] and we shall make the necessary corrections to future editions.

Ebook ISBNs Ebrary 978-1-920355-88-3 MyiLibrary 978-1-920355-89-0 Adobe Digital Edition 978-1-920355-90-6 he first copy of Beyond Memory was presented to the first state president of the democratic, non-racial and non-sexist Republic of South Africa, Dr TR.N. Mandela, on his 90th Birthday.

THANK YOU TATA As a child I learned you were a Prisoner Your Rivonia Trial became a Protest Later History taught me you were a Prince. On the island you were Prominent To millions of Blacks you were a Prophet. On your release you wished us Prosperity Reconciliation is what you Preached. Through the struggle you became President Your inauguration was Prestigious. As author your pen is Prolific. You chose to be a Premier Pensioner You continue to be our Principal. A globe-trotter who champions Projects You make all South Africans Proud Not long ago you rushed to Paris To save humanity from Perish. Your 46664 campaign is a Platform To fight the HIV/AIDS Plague. Arrow, arrow shoot away Prostate Arrow, please shoot away Ulcer Arrow, kindly shoot away Cancer. Mother, Mother, Mother Nature Father, Father, Father Future Please give him more Coffee No, not yet a Coffin. 100 is Mighty So is Ninety.

iii DEDICATION

This book is dedicated to my friend, my uncle and my mentor, Matsetsebale Athanas Mojapelo, who was known to the music fraternity as “Bra Jimmy”. He was the most knowledgeable, straight-talking, professional and progressive person I had the privilege of knowing. His blindness opened my eyes.

iv CONTENTS

Acknowledgements vi Acronyms & Abbreviations vii Editor’s Note ix Preface xi Introduction xiii

1. Soul Music 1 2. alex Soul Menu and Beyond 38 3. Quick Quick 50 4. the Cape Connection 67 5. into the Vibrant 80s 72 6. Ladies of Song 84 7. in Twos and Threes 115 8. When Two Cultures Kiss 122 9. the Era of The Steam Train 136 10. ska Flowers 157 11. new School 166 12. fine Male Voices 195 13. contemporary African Music 201 14. Joy or Jazz 223 15. exile Blues 263 16. trading in Tradition 293 17 Voice Power 303 18. Welcome Madiba 308 19. Praising and Praying 319

Bibliography 342 Internet Resources 342 Index 343

v ACKNOWLEDGEMENTS

These are the musicians, producers, engineers, and industry officials and practitioners consulted before or during the writing of this book: Sabata Koloi Lebona, Mosa Jonas Gwangwa, Mahwetša Don Laka, Tebogo Steve Kekana, Condry Ziqubu, , Jabu Khanyile, Thami Mdluli, Moses Ngwenya, Kenny Mathaba, Joe Nina, Sello Galane, Jaws Dlathu, , Orrack Chabangu, Abram Mija, Master Sechele, Arthur Mafokate, Ray Mkhize, Vusi Mahlasela, Rupert Bopape, Hildah Tloubatla, Simon Nkabinde, Albert Ralulimi, Moses Jabu Dlamini, West Nkosi, Blondie Makhene, Marks Mankwane and Bongani Ngubani. Let me also thank the many musicians, industry colleagues and friends who knowingly or unknowingly contributed towards the fulfilment of this dream.

MAGAZINES Club, Jive, Drum, Pace, Hit City, Pulse (City Press), Inside (Sunday Times), True Love, Ubuntu

NEWSPAPERS City Press, Sowetan, Sunday Sun, Sunday Times, Sunday World, Mail & Guardian

Other Sources e-tv, SABC, Gallo Records, Sheer Sound, Kora All Africa Music Awards, Sony Music Entertainment, RISA (SAMAs)

Appreciation For Your Support Mmamaje Mojapelo, Mampaka Mojapelo, Moss Matlalepoo, Lucas Nocky Mphahlele, Ike Kekana, Tlou Setumu, Puleng Nkomo, Lucas Mahlakgane, Chaka Chaka Mthombeni, John Maluleke, Moloko Mashamaite, Cyril Ngoasheng, Kgwathi Mothapo, Edward Maahlamela, Klaas Mashilo, Setabo Maphalla, Willie Mooka, Professor Sekgothe Mokgoatšane and my children.

vi ACRONYMS & ABBREVIATIONS

ABSA – amalgamated Banks of South Africa AC – african Connection AFUBI – afro Funk and Blues Investigation AIDS – acquired immune deficiency syndrome AIRCO – association of Independent Record Companies AJP – african Jazz Pioneers aka – also known as AMAHA – african Musicians Against HIV/Aids AMPAS – academy of Motion Picture Arts and Sciences APEU – anti-Piracy Enforcement Unit ASAMI – association of the South African Music Industry AUAA – artists United Against AYB – african Youth Band BMG – Bertelsman’s Group CASA – composers’ Association of South Africa CCP – clive Calder Productions CD – compact disc CISAC – international Confederation of Societies of Authors and Composers COSATU – congress of South African Trade Unions CSR – creative Sound Recordings CWUSA – creative Workers’ Union of South Africa DOCC – donaldson Orlando Community Centre DPMC – dave Penhale Music Company DVD – digital video disc EFP – eric Frisch Productions EMI – electric and Musical Industries Limited FIFA – federation International Football Association FNB – first National Bank FUBA – federated Union of Black Artists GRC – gramophone Record Company HIV – human immunodeficiency virus ICASA – independent Communications Authority of South Africa IPCC – international Pentecostal Church Choir KZN – KwaZulu-Natal MAAPSA – Musicians and Artists Assistance Programme of South Africa MACUFE – Mangaung African Cultural Festival MFM – Mike Fuller Music MIDEM – marché international del’edition musicale

vii MIDI – Music Industry Development Initiative Mitt – Music Industry Task Team MMFSA – the Music Managers Forum of South Africa M-Net – electronic Media Network Limited MOBO Awards – Music Of Black Origin MU – Musicians Union MTN – Mobile Telephone Networks South Africa MUSA – Musicians Union of South Africa NEPAD – new Patnership for Africa’s Development NGO – non-governmental organisation NPA – national Prosecuting Authority NORM – national Organisation for Reproduction Rights in Music in Southern Africa Limited PanSALB – Pan South African Language Board PAWE – Performing Arts Workers’ Equity POC – Prophets of the City R&B – rhythm and blues RISA – Recording Industry of South Africa RPM – Records Producers and Manufacturers RSFP Band – Strong For Peace Band SA – south Africa SAA – south African Airways SABC – south African Broadcasting Corporation SABMA – south African Blind Musicians Association SADMA – south African Disabled Music Association SAFACT – south African Federation Against Copyright Theft SAMA – south African Music Awards SAMPA – south African Music Promoters Association SAMRO – southern African Music Rights Organisation SAMU – south African Musicians’ Union SARA – south African Roadies Association SARRAL – south African Recording Rights Association Limited SATMA – south African Traditional Music Awards SOS – save our souls SOWETO – south Western Townships SSQ – soweto String Quartet TKZee – tokollo, Kabelo and Zwai UCT – university of Cape Town UK – united Kingdom UNICEF – united Nations Children’s Fund WEA – Warner Elektra Atlantic WIN – Worldwide Independent Network USA – united States of America ZCC – Zion Christian Church

viii Editor’s Note

Beyond Memory is a collection of Max Mojapelo’s diaries, written in a very personalised style. Critical details lie in the deep meanders of the history, moments, and memories that Mojapelo has about the world of music in South Africa. Mojapelo’s style blurs the lines across styles of many literary genres. It is personalised, conversational, reportorial, analytical and poetic – styles that assume a kind of an African, free authorial narrative. Beyond Memory describes, engages in direct speech and makes reference to a myriad episodes of Mojapelo’s memories, and still tells the same story that touches on the collective history, moments, and memory of the South African music industry. As former deejay, powerful festival compère, former station manager, writer of learning material for schools and a passionate music development leader, Mojapelo has captured the details about everybody and anybody that he has met and interviewed, as well as of those that he followed on the airwaves during and beyond his years as an active radio personality. Mojapelo’s keen eye on every turn of development in the South African music industry and on those whose contribution has impacted directly or indirectly on its development, shape and character, is commendable. It is both a longitudinal and transversal record of the development of South African music and its parallel links with the sounds of the diaspora. The biggest strength of Beyond Memory, is on the one hand, Mojapelo’s sterling chronological classification of different epochs of the development of music in South Africa, and, on the other hand, the themes alongside the rudimentary historical time line. The book therefore, does not take the dry and trite historical nomenclature route of exegesis of historical data. Rather, history ensues from the memory of the stories told in time. For Mojapelo, it is a daunting ask to go beyond memory. He believes that we often get trapped in shackles of ‘tabloidtisation’, and never go beyond memory of unfortunate events in the lives of artists. In Beyond Memory Mojapelo evidences that it is critical to go beyond such memory to the human spirits that the artists essentially are. It is interesting to note that Mojapelo has chosen, throughout his encounter with these artists, to search for humanistic elements of their characters and careers, and move beyond a perception that views artists as mere media objects that spur on wanton ecstasy and adrenaline in the world of ‘who is who’. Mojapelo takes the readers through meaningful small bites of histories, moments and memories in a manner that informs and avoids gossip. Mojapelo takes the reader to a moment in time, so that once we have taken stock of our

ix history as South Africans, we then meaningfully traverse new heights of the human spirit, and thereby go beyond mere memory. The use of the African narrative style could be mistaken for inconsequential name dropping. These brief references to some artists in a story told about the other, is Mojapelo’s conscious refrain from merely presenting curriculum vitae of different South African artists. Quite simply, those whom he has encountered more, receive more coverage. It should be kept in mind that this is not a study but a glimpse into Mojapelo’s diaries kept over the years. The story of South African music life that he has experienced personally is up-to-date and covers information that can usually only be covered by daily publications and daily news bulletins. The tiny bits of information that Mojapelo’s diaries offer, are therefore informative and invaluable. In these diaries, Mojapelo records real names of musicians, dates of events that link with their achievements and, in some cases, their dates of birth. The information in his dairies has been so carefully captured and systematically recorded, so that they become a useful record that, when read with the other publications that are out there, adds in a meaningful way to the jigsaw-puzzle of the national quilt of the South African music landscape. Beyond Memory is evidence not only of a life dedicated to keeping records but of a rare cadre and deejay. Mojapelo, is to the world of radio what Philip Tabane is to the world of music innovation. He is to the world of radio what Pele is to the world of soccer. Thank you for this wealth. Dear readers, let us drink from the well of memory which, from the time of its release to you, will begin to go beyond memory for every generation that is born. Enjoy reading.

Sello Galane

x Foreword

South Africa possesses one of the richest popular music traditions in the world, surpassed in its variety and inventiveness perhaps only by the United States. From marabi to mbaqanga, from boeremusiek to bubblegum, from kwela to : as varied as are the many peoples of South Africa in origin, culture and pigmentation, so dizzy is the array of popular music styles and genres that one encounters here. Yet the risk that future generations of South Africans will not know their musical roots is very real. Of all the recordings made here since the 1930s, thousands have been lost for ever, for the powers-that-be never deemed them worthy of preservation. And if one peruses the books that exist on South African popular music, one still finds, despite their wealth of scholarship, that there are misspelt names and inaccurate dates, and that their authors have on occasion jumped to conclusions that were not as foregone as they had assumed. Yet the fault lies not with them, rather in the fact that there has been precious little documentation in South Africa of who played what, or who recorded what, with whom, and when. This is true of all music-making in this country, though it is most striking in the musics of the black communities. Part of the reason, at least, is obvious: apartheid-era Bantu Education was a means of mass subjugation intended not only to deny our black fellow citizens a future, but also, through withholding access to higher learning, to prevent them from recording their past. The goal, albeit unstated, was to ensure that the impossibility of a future and the absence of a past would resign the masses to an unquestioning acceptance of an immutable present of servitude. With few exceptions – such as the moving, but all-too-brief autobiography of the brilliant Todd Matshikiza (his Chocolates for my Wife, now almost fifty years old) – the little that was committed to paper about black music was done so by whites who, however liberal, well-meaning and empathetic, were by virtue of their colour on the privileged side of the great divide that apartheid was constantly endeavouring to render unbridgeable. The present book is invaluable to all of us, in South Africa and beyond, because it offers a first-hand account of the South African music scene of the past decades from the pen of a man, Max Thamagana Mojapelo, who was situated in the very thick of things, thanks to his job as a deejay at the South African Broadcasting Corporation (SABC). This book is based on his diaries, on interviews he conducted and on numerous other sources, and we find in it not only the well-known names of recent South African music – from Hugh

xi Masekela, Jonas Gwangwa or Johnny Clegg to Brenda Fassie – but a countless host of others whose contribution must be recorded if we and future generations are to gain an accurate picture of South African music history of the late 20th and early 21st centuries. The breadth of coverage here is astonishing, and this book also serves as eloquent testimony to the fact that music is a prime instrument of breaking down those artificial barriers that the previous regime had erected.F or the musicians of whom we read here are black, white, coloured, Indian, classical, jazz, pop, crossover, Jewish, Christian, Muslim, Hindu – indeed, there could hardly be a better picture painted of the South Africa we would all like most to see, in which men and women are united for a common purpose, irrespective of what any politicians of the past (or present) might claim divides them. But music is not just a great leveller: above all, it uplifts. We, the readers, are left here above all with a sense of Mojapelo’s joy in music and of his enthusiasm and deep empathy for his fellow human beings; and this, in turn, uplifts us too.

Chris Walton Professor of Music at the University of Pretoria August 2008

xii INTRODUCTION

Thobela! The story you are about to read is based on my experiences before, during and after my career as a deejay at the SABC. At the end of the book you will have gained insight into the music industry in South Africa and its connections beyond. You’ll also have an idea of the role played by the media in supporting the industry. I hope to generate a lot of discussions, debates and arguments around the what, who, when, how and why amongst you wherever and whoever you are. I know there will be different opinions and versions of how certain events “actually” unfolded. Whatever comes out of those interactions will influence other individuals to write from different angles. You will notice as you read this book that it was also enriched by conversations amongst musicians, radio personalities, music industry executives and concert promoters. In my career as a radio deejay/presenter there have been two statements that haunted me day and night – one from a foreigner and the other from a Premier. Just after the 1990 release of Dr , I had the privilege of securing an appointment with one of the most gifted sons of our soil, Caiphus Semenya – he of the Quincy Jones school of excellence. Arrangements for the interview were facilitated by Condry Ziqubu, whose lead guitar Katse is in love with. Both grew up in Alexandra . Our venue was one of the modest lodges in Midrand. Caiphus had not yet relocated to South Africa. During the interview we touched on the subject of local music content in the media. He told me about the observations of his friend from Los Angeles, who had followed him to South Africa. When he asked him about his first impressions about this country he said, “On arrival I was very excited to see the blue skies and the wide open spaces. I turned on the radio to listen to the music of Africa. None. I fiddled with the tuner, but station after station rocked me withA merican music.

xiii I am so disappointed, there’s nothing new, there’s nothing to learn.” He then summed up his response with the phrase that still haunts me, “I have not left the States. I have not left.” When Simon Mahlathini Nkabinde was buried in Vosloorus on Saturday 7 August 1999, the SABC sent me to speak on its behalf. President had been in office for less than four months. His wife, Zanele, Ministers Ben Ngubane and Penuel Maduna, Gauteng’s Premier Mbazima Sam Shilowa as well as other dignitaries were amongst hundreds of mourners who packed the Vosloorus Community Hall to capacity. The MC’s were two giants of our music industry – Moses Jabulani Dlamini and Stanley Nkosi; both have since followed Ndoda Mahlathini to the other world. May their souls rest in peace. In welcoming the President, Premier Shilowa said: ‘I am told, Comrade President, that you once said that “Until lions have their own historians, their history and stories would always be told by hunters.” I don’t know if you did say it, but that’s what I’ve been told. If you didn’t say it, I think you should have said it. The words from these two statements kept ringing in my head until I was convinced I had to do something about them. When I was appointed station manager for the SABC’s Thobela FM radio station on 10 October 1997 I grabbed the opportunity with my two hands to address the first statement – “I have not left.” As coach of my radio team I sold my local content bias idea to my staff and instead of playing ICASA’s prescribed 20% we went 90%. Regardless of the criticism we received from some of our own brothers and sisters, I am still proud of the dent we made in knocking self-pride into the heads of many of our countrymen and women. In writing this book I am addressing the second statement – lions having their own historians. The story of the development of the South African music industry is a long, winding and sometimes twisted but fascinating one. The main challenge in telling the story is the unavailability of detailed information on some groups, artists and individuals, most of whom have already passed on. Some record companies’ press releases laid more emphasis on the music released than on the individuals behind the product. However, some did a splendid job. Most of the information in this book is from my notebook as a radio deejay/ presenter. The material mostly consists of my interviews with the musicians themselves or their peers, sleeve covers and general media reports over the years. This is mostly the reflection of how the music influenced my career as a deejay, how together with other deejays we contributed to its growth, how I have remained addicted to it, as well as my impressions about the vibrant industry and its politics. Every day of my life I live to thank God for blessing me with the talent as a teacher that has empowered the youth in the classroom for eight years, touched many people’s lives from behind the microphone as a deejay for fifteen years,

xiv