The first issue of WITCH’s debut LP. 1972. INTRODUCTION (TO THE WITCH) influences gravitated to the dark side of the rock and The sales base for this new musical movement was rock, soul, funk, jazz, afro-beat, Congolese rhythms funk spectrum. From the little of the Zambian 70s small: if you think that Nigerian rock records are and Zambian folk music, was a pioneering album in By the mid 1970s, the Southern African nation rock and funk music that has been spread via small hard to source, Zambian records are impossible. the country. He produced Paul Ngozi’s first single; known as the Republic of Zambia had fallen on hard blogs and bootlegs (the likes of Chrissy Zebby Tembo, Thirdly – and directly related to the above two he considered most Zamrock bands peers. Ililonga times. Though the country’s first President Kenneth Paul Ngozi and the Ngozi Family, and the Peace) and points – the Zamrock records that did surface in the settled in the Netherlands in 1980 and in 2007 he Kaunda and his United National Independence Party this label’s previous investigation into the genre (Rik- “collecting-community” of the moneyed European, posted a Myspace profile which included an email ad- had thrown off the yoke of British colonialism, the ki Ililonga and Musi-O-Tunya’s Dark Sunrise – NA Japanese and North American record-obsessives in dress. I’d heard his landmark Zambia album thanks new federation found itself under his self-imposed, 5067) we learn that fuzz guitars were commonplace, the mid 90s were often in worse condition than worn to a generous record collector ahead of the curve single party rule. He partially nationalized the coun- driving rhythms as influenced by James Brown’s funk Frisbees. The condition of the average Zambian enough to have sourced four Ililonga albums in the try’s copper and mineral mining operations – the as Jimi Hendrix’s rock predominated, musical themes records found “in the field” is on par with those of 90s. It was enough to hook me. I dashed off an email main source of Zambia’s wealth – and engaged what were often bleak, and that bands largely sang in the the war-torn discs found occasionally in modern day to the man, inquiring as to whether he would be in- was then Southern Rhodesia (now Zimbabwe) in a country’s constitutional language, English (though Angola. Seldomly did Zambian ex-pats bring their terested in issuing an anthology of his 70s work. He political fencing match that damaged his country’s occasionally they would pepper their albums with record collections – fodder for fortuitous collectors agreed. We hatched a plan. And then I started ask- ability to trade with its main partner. The Portuguese Nyanja- and Bemba-language songs). - with them. Those with the resources and passion to ing him questions about those other bands from that colonies of Angola to the West and Mozambique to It’s not surprising that so few Zambian records have resurrect this scene had little to work with. great, overlooked scene that he helped found. the East were fighting their own battles for indepen- been officially reissued. First, Zambian records are That’s not to say that the same types of European Ililonga is a gracious man, not prone to protection- dence; conflict loomed on all sides of this landlocked extremely rare, even by African standards. Wretched and North American compilers that had, say, fallen in ism or petty jealousy. He told me that he loved the nation. poverty made worse by the nose-dive copper - Zam- love with the wonders of Nigeria’s 70s scene music that bands like Amanaz and WITCH This is the environment in which Zamrock - the bia’s main export - suffered, and never recovered via an afro-beat introduction and created when they were all young scene that flourished throughout the 70s in Zambia’s from, in the late 70s made music a luxury in which journeyed to Lagos to investi- men, taken by a desire to create capital of Lusaka and Copperbelt cities - emerged. few – even the relatively well-to-do in Zambia’s cit- gate ever bothered to visit and foster a Zambian take Though full of beacons of hope for its numerous ies – could afford to indulge, and record collections Zambia. Perhaps this on the rock n’ roll they musical hopeful (the 60s saw the birth of the Zam- an extravagance that few could afford to maintain. is because even the heard on European- bia Broadcasting Service, Zambia’s national radio Second, Zambia’s population in 1976 – the height largest of the 70s pressed albums. station), this was a tumultuous time. At the dawn of of the Zamrock movement – was just north of five Zambian record- He even knew independence, more than seventy thousand Euro- million. To put this number in perspective, Nige- ing artists never were the surviv- peans – many of whom had reaped imperialistic re- ria’s population in 1976 was nearly sixty-six million; made any im- ing members wards - called Zambia home; it’s no wonder that the by a conservative estimate, in 1976, the population pact on a global of each band Zambian musicians taken by European and English of Lagos alone eclipsed the entirety of this nation. scale. (Prior to were located. reading this, He promised had you heard that, the next of Paul Ngozi time that he or kalindula, journeyed to the innovative his home city of Zambian musical Lusaka, he would style he popular- track them down. ized in the 80s?) True to his word, Before 2000 – and in October of 2009, infrequently since then battling a bout of malaria – few Europeans or North but undaunted, Ililonga Americans outside of university- emailed me with news: he had funded ethnomusicologists more inter- contacted Emmanuel Kangwa “Jag- ested in the country’s folk music than its pop culture ari” Chanda, WITCH’s vocalist. Though Chanda even journeyed here to search out the progenitors of lived in Lusaka, he spent most of his time mining for the Zamrock scene. Travel to – and within – Zambia precious stones in remote villages in “the bush” of is expensive, and the markers for the Zamrock scene Zambia’s central provinces. Chanda had removed are few. Only a small number of the Zamrock godfa- himself from music beyond hawking CDR compila- thers that remained in the country survived through tions of WITCH’s Zamrock gems, but, after Ililonga the late 90s, when the music recorded in Zambia vetted me and vouched for my intentions, he spoke became the final frontier for global-psychedelic rock to me at length about his band, and – most surpris- junkies searching for their next fix. AIDS decimated ingly to him - the renewed interest in his music (due this country, and uncontrollable inflation forced the to a Shadoks Music vinyl reissue of WITCH’s first Zambian rockers that could afford to flee into some- album, Introduction, and its third, Lazy Bones!!). thing resembling exile. He legitimized Shadoks’ reissues and authorized a One of those marooned rockers is the afore- pressing of each on CD. mentioned Ililonga: guitarist, singer, songwriter, All of Chanda’s WITCH bandmates had since producer and arranger of the highest caliber. He passed on, and he conveyed an obvious sadness as founded one of the first Zamrock bands, Musi-O- he described the band’s fall from its 70s heights to Tunya; the band’s Wings Of Africa, with its fusion of 80s obscurity, after two ill-advised disco/boogie

The second issue of WITCH’s debut LP. Clockwise from left: Chris WITCH’s highest selling single, the title track from their third album. Mbewe, John Muma, Boyd Sinkala, Emmanuel Chanda, Gedeon 1975. Mwamulenga. 1974. LPs (recorded and released after Chanda and three of Still, there have been high points since his re-dis- WITCH’s founding members left the group) flopped. covery: the television network Adult Swim paid (well) Yet he was upbeat and optimistic when he discussed to use WITCH’s music in its “bumps;” the hip-hop the present and future. Since that first conversation producer Oh No sampled “Tooth Factory” for an ad; we’ve talked dozens of times, and we rarely go a few the actor Elijah Wood stated that Introduction was weeks without checking in with each other. These one of his favorite discoveries of 2010. discussions have sparked memories long dormant: And Chanda acts as a bridge between we, the in- Chanda had all but forgotten that WITCH privately terested yet removed, and those Zambians who can released their first two albums before undertaking a benefit from Zamrock’s resurgence. It was Chanda licensing deal with the Ahmet Ertegun of the Zam- who sought out Paul Ngozi’s heirs so that this label rock scene, Edward Khuzayawo. He promised he could broker a deal to reissue the Ngozi Family’s im- would find copies of each. In between mining opera- mense catalog. Chanda found the late Chrissy Zebby tions, he placed ads on radio and in newspapers and Tembo’s octogenarian mother to legitimize Shadoks’ eventually sourced one of the three hundred covers of issue of My Ancestors. He’s happy when his peers or the band’s first press of Introduction and an original their families can benefit from the long tail of hope In The Past record. This was a Herculean task, but and energy they carried in the 70s as they forged a such is Chanda’s drive to cement his band’s deserving musical path for their country to follow - a path that reputation on the world music scene. might have become overgrown and obscured, but that Listening to WITCH’s 70s recordings, I thought of is finally becoming clear again. the humility with which this giant of a musician must have had to carry himself through the past twenty, -Eothen Alapatt, Los Angeles, October 2011. A note about the audio contained within: We worked We’ve presented each album as it was originally is- thin years. Sure, he’s a legend in his home country - with Chanda to restore and remaster WITCH’s music sued and have grouped together all 7” single tracks – but what solace did that offer him when his sister was from the best source material available. At times, even regardless of the era in which they were recorded and suffering an ailment from which she might have re- in audio sourced from master tapes, you will hear issued – on a sixth disc. covered in America and Chanda, responsible for her drop-outs and other slight imperfections. These is- medical bills, found himself scrounging for vinyl to sues were present in the tapes themselves. sell to the few psychedelic collectors willing to shell out American dollars for WITCH’s recorded fury in its original form?

The incarnation of WITCH that recorded Kuomboka. Back row,left Above: The front cover of the second issue of In The Past. Clockwise Right – Left to right: WITCH road manager Billy J. Ndhlovu, Violet to right: Gedeon Mwamulenga, Chris Mbewe, Masauko Mwale, Peter from left: Gedeon Mwamulenga, John Muma, Chris Mbewe, Boyd Kafula and Shaddick Bwalya in Lusaka. Circa 1982. Lungu, Patrick Mwondela; front row, left to right: Alex Kunda, Aaron Sinkala, Emmanuel Chanda. 1974. Banda, Emmanuel Makulu. Circa 1982.

AN INTERVIEW WITH JC: The first music I loved was by Cliff Richard and JC: The American/European musical influence in EA: It appears that by the mid 70s, there were a EMMANUEL KANGWA “JAGARI” CHANDA various British rock bands like The Beatles, The Roll- southern Africa was similar - especially because Zam- variety of record companies competing with Teal to ing Stones, The Hollies and Deep Purple. From the bia, Malawi and Zimbabwe were under the same co- release Zamrock albums. Was this an exciting time for “Jagari” Chanda: My full name is Emmanuel U.S. I liked Grand Funk Railroad, Jim Reeves, Jimi lonial masters as Northern Rhodesia and Nyasaland. Zambian music? Kangwa “Jagari” Chanda. I was born on the 21st of Hendrix and The Monkees. In the 60s and 70s only These masters forced their imported culture on their JC: True, the mid 70s saw the emergence of Ed- November 1951. (My official National Registration a few Zambian folk musicians - like Tolomeo Bwalya subjects. ward Khuzayawo’s Zambia Music Parlour, MOTAX- Card bears 1953 – I was late for registration, so the and Iassac Mapiki - inspired me. I saw, via Melody Maker magazine, TV shows and IZ, Chris Furniture/Chris Editions and DB Studios. authorities reduced my age by two years.) I was born I was discovered to have musical talent during school local white bands’ - such as Gut Bucket’s and Road This was the advent of commercial music record- in a small village called Songolo, which is situated social evenings and ballroom dancing gatherings Runners’ - performances during agricultural and ings by a variety of Zambian bands and solo artists. about ten kilometers east of the Kasama District in where I mimed and danced to some rock renditions. commercial shows, the “Western” instrumentation, I belonged to the Zamrock genre, or, as I would have the Northern province of Zambia. Some friends and schoolmates urged me dress, and skillful use of sounds effects. This both in- also called it, the Ethnic Rock genre - because most I am the fifth born in the family of to join one of the local bands - three spired and appealed to me - it was also like an open Zamrock musicians fused music from their respec- seven. My late parents were Mr. such bands were Red Balloons, invitation to me to showcase my talent in music. I tive ethnic groups or the tribes they belonged to with Clavel Mpukutu Chileshe and the Boyfriends (who would frequently listened to Beat in Germany and Lorenzo Western instrumentation. Mrs. Sofia Mukanu Chil- later become Peace) and Marces of Mozambique Hit Parades and derived mu- EA: Do you remember the most influential Zam- eshe. I have never used Black Souls – so I started sical satisfaction and interest from them. I craved for rock groups from this era? my father’s surname be- jamming with them be- a chance to somehow, someday make a mark in the JC: The groups were many- let me see which ones cause I only lived with fore I was enticed to join music world. I can remember. Of course there was our band, then my actual parents for the Kingstone Market We had Piano House – a shop for musical instru- there were Tinkles, Musi-O-Tunya, Black Foot, Five the first seven to eight band, which would later ments, accessories and a record-sales outlet - in Revolutions, Peace, On Paper, Gas Company, Red years of my life, after become WITCH. Kitwe, where I grew up, and Teal Record Company Balloon, Mulemena Boys, Oscillations, Earthquakes, which my eldest (first I was first exposed to – from South Africa - in neighboring Ndola town. Rave 5, Dr. Footswitch, Aqualung, Born Free, Cross born) brother took me the guitar, then I added These were the two main sources of Western music Town Traffic, Black Jesus, Paul Ngozi and Ngozi to Kitwe district, where Western drums after I in the Copperbelt province of Zambia. Music maga- Family, Amanaz, Green Combos, Sentries, Shala- he worked as a miner, to joined WITCH. The third zines, records and record players were always avail- wambe, Smokey Haangala, Explosives, Salty Dog, give me an opportunity at a instrument I studied was able and cheap. When WITCH was under contract Fire Balls, Peanuts, Believers, Air Power and many formal education. His name is flute, which I came to like while with Teal Record Company, we were getting all the more. George Ntenda Kshimilo Chanda. I training as a secondary school music latest hit records from America and Europe. This had EA: How was WITCH formed – and what was used this surname because my guardian and English teacher at Evelyn Hone Col- a big impact on our local music scene. your role in the group? brother got it from our guardian uncle who brought lege. One of the requirements to complete the course him up. was to write a thesis about African musical Eothen Alapatt: Were any of your arts. This gave me the challenge and siblings into music? chance to research and collect JC: I know very little about different types of music from the musicality/other musi- all nine provinces and the cal talents in the family be- diverse cultures of Zambia cause I was never really and beyond. close to my other broth- EA: How did music ers and sisters- we grew change – if it did change up in separate places. – in Zambia after inde- However, my mother pendence? sang occasionally; my JC: When Zambia sister plays traditional gained independence I drums and sings in so- was only thirteen years cial/marriage/initiation old. But I still recall that gatherings. My immediate Zambian folk music was con- younger brother plays Western temporized soon after indepen- guitar and sings as a hobby. dence by local musicians such as Only two out of my seven siblings Big Gold Six (the Lusaka Radio Band) made it into secondary school. So Western music and the Lusaka Beatles (later, The Earthquakes) was alien to them, unlike me, as I was influenced by as they started adding Western instrumentation to both Western and Zambian folk and traditional mu- traditional songs, or adding traditional instrumenta- sical arts. My siblings are more into the traditional tion - like rattles and traditional drums - to worship type of music. When I asked my mother about the songs in churches. The advent of TV in the early to roots of my musical talent, she told me I took after mid 60s also contributed to the influence of music her late uncle, whose nickname was Jokolofi (ie. from other parts of the world on the Zambia scene. “Geography”). EA: What was it about the Western rock sound EA: What was the first music that you fell in love – and instrumentation – that appealed to you and with? And tell me about your first band. your bandmates?

Label variation between the first and second issues ofIn The Past. WITCH’s fourth album. 1976. 1974. JC: As I noted earlier, I had joined the Kingstone Past back from him since he had only paid for the back to Kenya to do the same thing for the In The Rolling Stones and the like were part of the influence. Market Band – I came in after the late Mr. Christopher recording; the band owned the music. The compro- Past album – that’s when I found Musi-O-Tunya put- At that time, I was a part time member of the band Kaluba, the band’s former manager, fired two mem- mise we reached was to sell the masters and give Mr. ting their final touches on theWings of Africa album. since I was in school and about to write my grade bers. The band’s two remaining members – Wingo Musonda part of the proceeds. If I remember well, I stayed with Musi-O-Tunya’s twelve G.C.E. final exams. So my concentration on (Guitar) and George “Groovy Joe” Kunda (Drums) The first versions of the albums were a “briefcase” drummer, Brian Chengala, for a day or two in East music was not in full. You also need to know that, – and myself teamed up with two members from the kind of business. I remember that Mr. Musonda went Leigh Township before I flew back to Zambia. at that time, I was the only member of the band who Boyfriends – Gedeon “Giddy Kings” Mwamulenga and printed about three hundred copies of Introduc- I have failed to remember the original look of our had attained secondary/high school education. The (Bass Guitar) and John “Music” Muma (Guitar, Vo- tion, which he sold at live shows as people came in to version of In The Past’s cover. I guess that is because different levels of educational background among cals) – alongside Christopher “Chris Kims” Mbewe watch the band. the copies were few, and literally sold from Mr. Mu- WITCH’s band members had a negative impact on (Rhythm Guitar) from the Twangs, from Kabwe, and Edward Khuzawayo was the proprietor of Zambia sonda’s briefcase. And when Mr. Khuzawayo bought our musical progression as a whole. Paul “Jones” Mumba (Keyboards) from the Upshoots Music Parlour. At the time, his was the second largest the rights to the albums, he flooded the market with Fortunately, Shaddick Bwalya came in to augment to form WITCH. record company in Zambia. (Teal Record Company the new versions and his versions have stuck more in my efforts in song writing. He was put on salary for WITCH is an acronym: We Intend To Cause Hav- was the largest.) Although Khuzayawo was never my mind. He released both albums at the same time, his musical contributions to the band. Due to copy- oc. I was the band’s front man, composer and, later, WITCH’s manager or producer, per se, he bought and he later he released certain songs as 7” singles, right ignorance on the part of the band, some mem- the bandleader. the master tapes for Introduction and In The Past and in 1974. bers only sang the songs - but were listed as compos- EA: Tell me about the release of the first two WITCH he asked us to go back to the studio to rerecord the EA: How did you end up with Teal Record Com- ers on the albums anyway. albums. I know that the band privately released both music from those two albums. pany? Shaddick had a good command of English and was Introduction and In The Past before Zambia Music EA: Did Musi-O-Tunya’s Wings Of Africa come JC: When WITCH split with Mr. Musonda, Teal a staunch follower of Deep Purple and other heavy Parlour released them; I know that Introduction had out before or after Introduction? There seems to be a Record Company signed us on for five years. We were rock bands. So, his taste and my feel blended fairly two different covers; I’ve seen three different sets of bit of a discrepancy as to which was the first “commer- to produce one album per year. Teal Record Compa- well and helped me move the band in a slightly dif- labels from the Zambia Music Parlour issue of Intro- cial” Zambian album released after independence. ny also helped us to lease our own musical ferent direction. This was well received duction. It’s confounding! Do you recall the circum- JC: WITCH was the first Zambian band to record equipment from Piano House musi- by our fans and our fame grew even stances around these different releases? an album made for commercial release - Introduc- cal shop. For almost four years stronger. JC: When WITCH parted ways with our ex-exec- tion. Earlier recordings by bands were mainly for the all of our record royalties went Shaddick joined the band utive producer/manager – the late Mr. Phillip Mu- radio broadcasting purposes. This was an exciting to redeem that loan. Mean- full time after I quit to study sonda - because he refused to sign a promotional / development indeed. while, we lived on the for my diploma in music/ management contract with us, he withdrew the mu- In 1972, Mr. Musonda and I took the Introduction money from live show English teaching. sical equipment he had leant to us. In the exchange, master tapes to Narobi, Kenya to make the steel performances. EA: I love the first two we got the master tapes for Introduction and In The stampers for mass production. In 1973, I alone went Teal Record Com- WITCH albums for what pany produced the last they are: raw albums three WITCH albums. that showcase a rever- When, due to rampant ence for English rock but piracy, Teal Record that, at the same time, of- Company wound up fer something wholly new. business in Zambia, they At the time, Zambia’s music returned the master tapes to industry was free of conven- their ex-signees. In 1995 we sold tion; it seems as if WITCH took those three albums to DNI Promo- advantage of that spirit. tions of Lusaka. Under DNI’s supervi- JC: The first two albums were almost sion, Chris Mbewe and I were asked to rerecord experimental: they were naïve and inexperienced but some of WITCH’s music in South Africa. they were full of excitement. It was exciting indeed After DNI’s proprietor, Mr. Rodger Sombe, died to locally produce the first albums by a local musical in 2002 I got the masters back from them. I also got outfit! the masters for Introduction and In The Past from EA: I need to know more about the musical de- Khuzayawo’s Music Parlour. I own all the rights to velopment that occurred between In The Past and WITCH’s music. Lazy Bones!! For instance: Where did the fuzz and EA: Can you walk me through the influences on the wah-wah pedals come from? “Star” Sinkala - he the albums? The first two albums certainly have a improved so markedly that he sounds like a different “garage rock,” mid-60s British vibe (a la The Rolling drummer! And you’d really come into your own as a Stones) with a bit of James Brown-style funk thrown songwriter. Was WITCH trying to prove something in. Lazy Bones!! is, to my ears, WITCH’s funkiest with this album? and heaviest. Lukumbo Vibes and Including Janet JC: Introduction and In The Past were done in (Hit Single) have a more progressive “afro” bent a hurry. We had just changed managers, we were – but still move with a certain funk. How did your not experienced with the studio atmosphere and we influences change over the course of these albums? were not competing with any other locally-recorded How did WITCH’s development change as a result? music. JC: The first two albums were like random re- With Lazy Bones!! Shaddick Bwalya came in with a cordings: they’re the sound of us trying to find heavy rock influence and we were now under contract our feet, musically. Of course, James Brown, The with Teal Record Company. We were also recording

WITCH’s fifth album. 1977. Clockwise from left: Gedeon Mwamu- A 7” single released around the Lazy Bones!! album. 1975. lenga, Boyd Sinkala, Chris Mbewe. at DB Studios in Lusaka. More Western music came JC: Lazy Bones!! sold the most; Introduction and in for us to listen to: Chris had to master the fuzz In the Past were handled by two different promot- and wah-wah pedals we acquired after listening to ers (Musonda and Khuzwayo), so we had no honest Grand Funk Railroad’s “Rain Keep Fallin,’” which figures of sales. The most popular songs were: from we were playing as a cover at most of our shows. As In The Past - “Mashed Potato, ” “Chance,” “It’s Al- to “Star” Sinkala, he also had to play Deep Purple’s right,” “The Only Way,” “Living In The Past,”; from “Lay Down, Stay Down” and Grand Funk’s “We’re Lazy Bones!! - “Lazy Bones,” “Motherless Child,” An American Band” respectively, as they were part “October Night,”; from Lukombo Vibes – “Blood of our regular live repertoire. This brought the influ- Donor,” “Kangalaitoito,” “Sweet Sixteen,”; from ence and demanded more practice on his part. Including Janet (Hit Single) – “Anyinamwana,” “Na- EA: Lazy Bones!! is a departure for zingwa,” “Janet.” WITCH. At once, it’s musically EA: What was it like to be a Zam- adventurous and progressive rock star in the 70s? but your lyrics, and the al- JC: Well, apart from the Re- bum’s overall mood, are publican President’s dec- world-weary. To me, it’s laration that 80% of the WITCH’s masterpiece. music played on Zambian JC: I think I agree with radio be Zambian music, your perception of the the government paid moods and feelings that very little attention to- inspired the lyrics of our wards the arts. They set music. Before signing no laws against piracy; a contract with Teal Re- they had no policy on cord Company, WITCH culture and arts; there was went through a rough patch: no National Arts Council. we had no instruments, no It was not easy to live on managers, no proper living ac- music back then. Especially commodations and the like. when the government imposed a Hence, such songs like “Black Tears,” curfew and black out during the state of “Tooth Factory” and “Havoc,” which reflected this emergency in the mid to late 70s because of the in- dark period of our lives. We even had one dependence struggles in countries around politically inspired song: “October Zambia: Zimbabwe, Mozambique, Night.” The band was arrested South Africa, Angola and Na- and placed in jail for “noise mibia. making to annoyance.” In During this period there fact, I wrote “October were no live shows at night. Night” on a piece of pa- Very few musicians had per in Kamwala Prison it easy in Zambia: you on Independence Eve could be a big name and of 1974. still have no money. The EA: Do you recall low population and poor the recording process? economic situation of Ie. Was this an involved Zambia made it hard for process (multi track re- musicians to amass wealth cording, multiple mics, etc.), or live comfortably. or was it simple “live” affair? EA: Do you recall any in- JC: Of all the studios we used, ternational – or even African- only Sapra Studio in Nairobi tried attention paid to WITCH during to be professional. But even then our al- its heyday? Was there any recognition bums were recorded in three to four days – the rest of the band’s talents outside of Zambia - did you of the recordings were just rehearsals, or live per- want to break free of Zambia’s borders? formances. This was especially the case on the first JC: I remember the Chichiri Queens of Malawi re- two albums. DB Studios tried to improve the record- corded our “Sweet Sixteen” song and it was released ing for Lazy Bones!! but they were limited by their on the Gallo Music Label from South Africa. But almost obsolete equipment. The process was never without strong copyright laws in place at that time it professionally guided. was difficulty to pursue royalties from them. EA: Did these albums – or any songs from them - During our tours of neighboring countries, the “hit” in Zambia? Do you remember how many copies band was well appreciated and we had quite a rea- each album sold? sonable following while there but, in some cases, the

Members of WITCH on tour in Malawi, November, 1975, atop the 7” singles released around the Lukombo Vibes and In The Past WITCH touring van. Back row, left to right: Chris Mbewe, Gilbert albums. 1974-1976. Kunda (roadie), Gedeon Mwamulenga; front row, left to right: Boyd Sinkala, Shaddick Bwalya, Billy Ndhlovu, Emmanuel Chanda, John Muma. show promoters were dishonest so we could not fre- famous in Lusaka in their style/genre. Once, we had quent some of these places. Thus, most of our perfor- jam sessions with all three bands in Luanshya, Kitwe mances outside of Zambia were short stints, with the and Mufulira towns of the Copperbelt. They were all longest tour being a six-month stint in Zimbabwe. By packed shows. the time I quit the band, we had played in Tanzania, EA: How did you measure yourselves up to inter- toured almost the whole of Malawi and played parts of national – or other African – musical ensembles, es- Zimbabwe, Swaziland and Botswana. pecially those that you considered influences, during The later WITCH line up almost settled in Bo- WITCH’s heyday? tswana, where I believe the band’s actual break up JC: We had the privilege to curtain-raise for the occurred. Alex Kunda (from Musi-O-Tunya), Peter Osibisa band when they toured Zambia. That was the Lungun (from Born Free) and Chris Mbewe settled closest I got to an internationally renowned African there and formed the Afro Sunshine band, while the band and I drew a lot of inspiration from them: Teddy rest of the group returned to Zambia. Chris and Alex Osei told me he had a diploma in music and, later, died in Botswana while Peter died here in Zambia. that inspired me to get into a music college. They EA: I’ve seen you remark that you were the “top” were refined, self-assured and accomplished musi- Zambian band in the 70s – how did you measure cians. They appreciated our music and stagecraft and yourselves up to other Zamrock ensembles of the 70s? challenged us to musically dare the world by being Did you consider any to be your equals? creative and original - and that’s what we tried to do JC: My rating was based on our record sales and from Lukombo Vibes onward. our fans’ patronage of our shows. Almost all of our EA: What percentage of the Zambian records sold shows were “sold out” and were never flops. The in the 70s were Zamrock? What other music sold to high demand for the band whenever and wherever we the Zambian population? How did Zamrock fit into played in Zambia was another measuring stick. If an- the commercial realm – was it a big part or a small other band put up a show in the same town where we subset? were performing, we always had the better part of the JC: After the release of Introduction, it was like local fans in attendance. (This was moreso the case the musical “prison doors” were broken loose. Every in the Copperbelt towns.) The Tinkles were also fa- musician wanted to record. I am not sure whether it mous in their own way on the Copperbelt, but on the was for fame or money - maybe it was for both. And softer side of music, while Musi-O-Tunya was equally most Zambians wanted to own a copy of records they

Left to right: Gedeon Mwamulenga, Emmanuel Chanda, Chris Mbewe. Lyrics to “Strange Dream” by Emmanuel Chanda, taken from the Circa mid 80s. insert to Lazy Bones!!. 1975. could identify with. Thus, different genres of music people’s musical expectations. Most people thought created by Zambian musicians emerged, from Zam- the outfit no longer had the WITCH flavor they knew. rock to contemporized traditional dance to wedding Personally, I thought the band’s skills had improved, music to work music to male/female imitations to, and they had female voices included in the music for later, kalindula. a change. Zamrock was well accepted by the young to middle EA: So what happened to you, both musically and age Zambians while the older folks went for tradi- personally, throughout the 80s? What are you doing tional types of music. (The Five Revolutions and now? John Mwansa were pioneers in this genre.) The lov- JC: In 1980 I left the band in Zimbabwe and took ers gravitated to the likes of The Tinkles. Zamrock up my teaching vocation full time. In 1987 I recorded commanded a much bigger following in the live a demo tape with some of my students, but it was nev- shows at the time. Thus, I think that for the first three er released. In 1993 I lost my job prematurely and my years or so after its emergence, Zamrock sold more family was disoriented and scattered for a few years. than the other genres. I played music with various bands to try and make EA: Other than Paul Ngozi and the Ngozi Family, ends meet. As I stated earlier, in 1996 Chris Mbewe I cannot think of a Zamrock ensemble that recorded and I went to South Africa do versions of some of and released as many albums as WITCH. And I can- WITCH’s music for D.N.I., but the producer died not find an example of an ensemble that released soon after the project was completed and it was not such consistently great albums. Was WITCH unique properly promoted. The last guy I teamed up with in this regard? for shows was the JC: WITCH late Ackim Simu- recorded five pro- konda. But I could gressive (in quality) not freelance for albums. Paul Ngozi long because my started recording late nephew, Peter a little later than Chanda, intro- WITCH. Paul’s duced me to gem- strength was his stone mining. social commentary In 1998 I got my (and the messages own mining license in his songs were and I added others rather humorous) in 2004 and 2007. but musically he My plan is to raise was crude, simple money to establish and monotonous at my own school times. That’s why I of music and a think he was able modern recording to record so many studio to retire in albums in such a - God willing! Pro- short time. fessionally, I still EA: You noted contribute to the that you were a part-time member of WITCH from music fraternity as a resource person and mentor 1977 until 1980, when you left the band completely. through projects for Zambian youth, such as Music What did you make of WITCH’s transition to disco Crossroads Zambia and Power In The Voice, a baby and then 80s funk/soul as you watched from a dis- of the British Council. I am also the chief adjudica- tance? And what did WITCH’s fans make of the tor for music in our National Arts Council Annual change? Awards. JC: Moving On and Kuomboka were both recorded I am now back in Lusaka, where I live with my in Zimbabwe; generally, the music of 80s Zambia was family in Rockfield (Chalala). I am married to Grace influenced by disco and rhumba from neighboring Kabwe Mporokosso and we have five children – two Congo. I understood the talent in the band; it was boys and three girls. easy for them to adapt and change. Again, the main EA: What happened to all of the other original man behind the change was Shaddick Bwalya, who members of WITCH? by this time had become almost a full member of the JC: Of WITCH’s founding six members, I am the band. I am not the disco type of singer/musician - it only one alive. They all died between 1991 and 2001. just doesn’t move me as much as rock. I wasn’t en- The first to die was John “Music” Muma, in Kitwe, vious and I wished them well, but the sales of those and the last was Chris Mbewe, who passed away on albums were not as good as the ones that came be- Christmas Eve of 2001 in Botswana. Paul died in fore because the line up had changed a lot and so did Chipilli (Mansa), Boyd in Kalulushi (a small town

Above: Boyd Sinkala and Emmanuel Chanda in Richmond Gardens, Above (right): Lyrics to “Lazy Bones” by Emmanuel Chanda, taken Right page (top): WITCH jam session in Kafue. Left to right: Right page (bottom): WITCH on an Ndola angling raft in Kafubu Kitwe. 1975. from the insert to Lazy Bones!!. 1975. Unknown, Ackim Simukonda, John Muma, Gedeon Mwamulenga. River, used on the cover of Lazy Bones!!. Left to right: Chris Mbewe, Circa late 80s. Gedeon Mwamulenga, Boyd Sinkala, John Muma, Emmanuel Chanda. 1975.

ten kilometers from Kitwe), Gedeon in Tanzania (his in academic qualifications. This instilled a fear of the mother had come to Zambia from Kenya, while his unknown as well as a “plateau” in understanding the father was a Tanzanian) and Shaddick in one of the world outside of Zambia. Copperbelt cities (perhaps Ndola or Kitwe). They all There is still demand for that music we played; even died of “suspicious” sickness and diseases. today in Zambia most local bands and radio stations EA: When you look back at your career with still play our music. The thousand CDs I compiled WITCH, are you happy with what you achieved? Do from our old songs sold like hot cakes three years ago. you feel like the band’s music has withstood the test of International attention to the music is always good, it time? And how does the international attention focused gives hope and injects interest. It would be challeng- on Zamrock, and WITCH in particular – thirty some ing for me to compose and record more music, but it odd years after you left the band - make you feel? would be worth it for future family benefits and for my JC: Yes I could say the results were satisfactory, country’s name to be on the world music map. generally, but our goals were not fully achieved. There is always room for mixed feelings and emo- We should have migrated somewhere outside Zam- tions about incomplete achievements. I feel we prob- bia, away from our family ties, to a places where music ably would have reunited as a band if the guys hadn’t is appreciated more. We needed to perform in areas died. Maybe we could have achieved better interna- that had bigger populations, and better economic sta- tional results if we had joined together as mature mu- tus. We needed stiffer musical competition. The band sicians and responsible family men. was talented and hard working but humble or limited

Left page: WITCH’s first show in Lusaka at a music festival in Matero Left page (bottom): Outtakes from the With Janet (Hit Single) album. Above: Emmanuel Chanda in Lusaka. Circa early 80s Stadium. Left to right: John Muma, Emmanuel Chanda. April, 1974. Left hand corner: Emmanuel Chanda; right hand corner with John Muma. NA 5091 Personnel: Recording Information: WITCH Discography:

(p) & (c) 2012 Now-Again Records. On Introduction and In The Past albums: Emmanuel Introduction and In The Past albums: Produced and Introduction (The WITCH Records, TW 006, 1972) Kangwa “Jagari” Chanda: Lead Vocals; Boyd “Star Arranged by WITCH. Recorded at Malachite Stu- This compilation produced by Eothen “Egon” Alap- McBoydie” Sinkala: Drums; Gedeon “Giddy Kings” dio, Chingola, Zambia in 1972 and 1973. Engineered Introduction (Zambia Music Parlour Records, att. Original sessions produced by WITCH. Mwamulenga: Bass Guitar; John “Music” Muma: by Malachite Films. Introduction originally released ZMPL5, 1974) Rhythm Guitar, Vocals; Chris “Kims” Mbewe: on The WITCH Records TW 006, later issued on Liner notes and interview by Eothen Alapatt. Lead Guitar, Vocals; Paul “Jones” Mumba: Organ, Zambia Music Parlour Records ZMPL 5. In The Past In The Past (The WITCH Records, TW 007, 1974) Drums. originally released on The WITCH Records TW Additional coordination and transcription by 007, later issued on Zambia Music Parlour Records In The Past (Zambia Music Parlour Records, Henoch Moore. On Lazy Bones!! album and “Toloka/81st Crowd ZMPL 7. ZMPL7, 1974) Confusion,” “Talking Universe/Evil Woman,” “Up Licensed, and all photos, courtesy Emmanuel the Sky/Sweet Sixteen” 7” singles: Same as above, Lazy Bones!! album and “Toloka/81st Crowd Con- “It’s Alright/I Like the Way That I Am” 7” Single Kangwa “Jagari” Chanda. excepting Paul “Jones” Mumba and John “Music” fusion,” “Talking Universe/Evil Woman” “Up the (Zambia Music Parlour Records, ZMPS011, 1974) Muma, and with Chris “Kims” Mbewe: Acoustic and Sky/Sweet Sixteen” 7” singles: Produced and Ar- 7” single scans courtesy Adam Watson. Wah-Wah Guitar. ranged by WITCH. Recorded at D.B. Applications, “The Only Way/Mashed Potato” 7” Single (Zambia Lusaka, Zambia in 1975. Lazy Bones!! originally re- Music Parlour Records, ZMPS012, 1974) Restoration and remastering by Dave Cooley for On Lukombo Vibes album and “Fool’s Ride/ leased on Teal Record Company/Zambezi Records Elysian Masters, Los Angeles, USA. Chifundo” 7” single: Emmanuel Kangwa “Jagari” ZTZ 1. “Toloka/81st Crowd Confusion” 7” origi- Lazy Bones!! (Teal Record Company/Zambezi Chanda: Lead Vocals; Boyd “Star McBoydie” Si- nally released on Teal Record Company/Zambezi Records, ZTZ 1, 1975). Master tape transfers by Platinum Studios, Rand- inkala: Drums, Percussion, Vocals; Gedeon “Giddy Records ZTZ 4. “Talking Universe/Evil Woman” burg, South Africa. Kings” Mwamulenga: Bass Guitar; Chris “Kims” “Up the Sky/Sweet Sixteen” originally released on “Toloka/81st Crowd Confusion” 7” Single (Teal Mbewe: Lead Guitar, Vocals on “Bleeding Thun- Teal Record Company/Zambezi Records ZTZ 6. Record Company/Zambezi Records, ZA 4, 1975) Album transfers by Dave Cooley; “Up The Sky” 7” der” and “See - Saw;” Cosmas Zani: Keyboards. “Talking Universe/Evil Woman” originally released by Adam Watson. on Teal Record Company/Zambezi Records ZTZ 5. “Lazy Bones/Little Clown” 7” Single (Teal Record Including Janet (Hit Single) album: Emmanuel Company/Zambezi Records, ZA 47, 1975) Art direction by Errol F. Richardson for Busy Kangwa “Jagari” Chanda: Lead Vocals; Boyd “Star Lukombo Vibes album and “Fool’s Ride/Chifundo” Maker, Toronto, Canada. McBoydie” Sinkala: Drums, Percussion, Vocals; 7” single: Produced by Teal Record Compnay. “Talking Universe/Evil Woman” (Teal Record Gedeon “Giddy Kings” Mwamulenga: Bass Guitar, Arranged by WITCH. Recorded at Sapra Studios, Company/Zambezi Records, ZA 5, 1975) “Jagari” Chanda would like to dedicate this album Vocals; Chris “Kims” Mbewe: Lead Guitar, Vocals; Nairobi, Kenya on September 24, 1976. Engineered to the departed bands, men, managers, families and John “Music” Muma: Rhythm Guitar, Vocals; by Detlef Degener. Lukombo Vibes originally “Up the Sky/Sweet Sixteen” (Teal Record Com- precious fans who helped us not give up too soon “Slim” Ali: Keyboards; Alex Kunda: Percussion. released on Teal Record Company ZTZ 7. “Fool’s pany/Zambezi Records, ZTZ 6, 1975) and would like to thank God Almighty for the gifts/ Ride/Chifundo” 7” single originally released on talents and his mercies; all the people who were a Teal Record Company WIT1. Lukombo Vibes (Teal Record Company ZTZ 7, part of the creation, transformation and success of 1976). WE INTEND TO CAUSE HAVOC (WITCH). To Including Janet (Hit Single) album: Produced by mention a few: Messrs. Christopher Kaluba, first Shaddick Bwalya. Arranged by WITCH. Recorded “Fools Ride/Chifundo” 7” Single (Teal Record manager of Kingstone Market, the forerunner of at Sapra Studios, Nairobi, Kenya between No- Company WIT1, 1976) WITCH; Phillip Musonda, second manager, and vember 21st and November 26th 1977. Engineered also the sponsor of the first two WITCH album by George Fwombe. Originally released on Teal Including Janet (Hit Single) (Teal Record Company, recordings; Teal Record Company (Zambia), who Record Company WIT 02. WIT 02, 1977). took over from Mr. Phillip Musonda and enabled us to record abroad and also helped us obtain a loan for “Janet/Nazingwa” (Teal Record Company WIT2, the band’s own musical instruments (equipment) 1977) and transport (van) to carry the band around, Ed- ward Khuzwayo, who was like a cog in the machine Movin’ On (Shed Records, 1002, circa 1980) * that drove the band to its self management by buying the master tapes of Introduction and In The Past; “My Desire/You Are My Sunshine” 7” Single (Shed Rodgers M. Sombe, the last promoter of WITCH’s Records, 113, circa 1980) * music, via re-recordings in South Africa; my wife and family; Eothen Alapatt; Rikki Ililonga; and many Kuomboka (R.N. Music Promotions, Witch A, circa more people including our families, friends and too 1983) * many to remember… *These albums and 7” single contain only Gedeon Now-Again Records would like to thank: Rikki Mwamulenga and Chris Mbewe from the original Ililonga, Adam Watson, Jason Connoy, Victor WITCH line up. Simukonda, The Times of Zambia, Shadoks Music, Kieran and Lo. The incarnation of WITCH that recorded Lazy Bones!!, taken from the back cover of the album. 1975.