South African Music
The South African music
scene includes both popular (jive) and folk forms. Pop styles are based on four
major sources, Zulu isicathamiya singing and harmonic mbaqanga. South Africa
also supports a music industry.
================
Pre-20th-century
history
================
Early records of music
in southern Africa indicate a fusion of cultural traditions: African, European
and Asian.
Christian missions
provided the first[citation needed] organised musical training in the area,
bringing to light many of the modern country's early musicians, including Enoch
Sontonga, who wrote the Southern African national anthem Nkosi Sikelel' iAfrika
in 1897. By the end of the nineteenth century, South African cities like Cape
Town were large enough to attract foreign musicians, especially American
ragtime players. In the 1890s Orpheus McAdoo's Jubilee Singers popularised
African-American spirituals.
======
Marabi
======
In the early twentieth
century, governmental restrictions on blacks increased, including a nightly
curfew which kept the night life in Johannesburg relatively small for a city of
its size (then the largest city south of the Sahara). Marabi, a style from the
slums of Johannesburg, was the early 'popular music' of the townships and urban
centers of South Africa.
Marabi was played on
pianos with accompaniment from pebble-filled cans, often in shebeens,
establishments that illegally served alcohol to blacks. By the 1930s, however,
marabi had incorporated new instruments, guitars, concertinas and banjos, and
new styles of marabi had sprung up. Among these were a marabi/swing fusion
called African jazz and jive, a generic term for any popular marabi style of
music.
South African popular
music began in 1912 with the first commercial recordings, but only began
booming after 1930 when Eric Gallo's Brunswick Gramophone House sent several
South African musicians to London to record for Singer Records. Gallo went on
to begin producing music in South Africa, beginning in 1933. His company, Gallo
Record Company, remains the largest and most successful label in South Africa,
having had acclaimed artists such as Solomon Linda, Ladysmith Black Mambazo,
Miriam Makeba, Mahlathini and the Mahotella Queens and many more pass through
the recording studios.
======
Gospel
======
In the early twentieth
century, Zionist Christian churches spread across South Africa. They
incorporated African musical elements into their worship, thus inventing South
African gospel music which remains one of the most popular forms of music in
the country today.
=========
The 1930s
=========
----------
A
cappella
----------
The 1930s also saw the
spread of Zulu a cappella singing from the Natal area to much of South Africa.
The style's popularity, finally producing a major star in 1939 with Solomon
Linda's Original Evening Birds, whose "Mbube" ("The Lion")
was probably the first African recording to sell more than 100,000 copies. It
also provided the basis for two further American pop hits, The Weavers'
"Wimoweh" (1951) and The Tokens' "The Lion Sleeps Tonight"
(1961). Linda's music was in a style that came to be known as mbube. From the
late 1940s to the 1960s, a harsh, strident form called isikhwela jo was
popular, though national interest waned in the 1950s until Radio Zulu began
broadcasting to Natal, Transvaal and the Orange Free State in 1962 (see 1950s:
Bantu Radio and pennywhistle for more details).
Also formed in this
era, the Stellenbosch University Choir, part of the University of Stellenbosch,
is the oldest running choir in the country and was formed in 1936 by William
Morris, also the first conductor of the Choir. The current conductor is Andre
van der Merwe. They specialise in a cappella music and consist of students from
the University.
--------------
Afrikaans
music
--------------
Afrikaans music was
primarily influenced by Dutch folk styles, along with French and German
influences, in the early twentieth century. Zydeco-type string bands led by a
concertina were popular, as were elements of American country music, especially
Jim Reeves.The most prolific composers of "tiekie draai" Afrikaans
music were lyricist Anton De Waal who wrote many hit songs with songwriters,
pianist Charles Segal ("Hey Babariebab Se Ding Is Vim",
"Kalkoenjie", "Sy Kom Van Kommetjie" and many others) and
accordianist, Nico Carstens. Bushveld music based on the Zulu were
reinterpreted by such singers as Marais and Miranda. Melodramatic and
sentimental songs called trane trekkers (tear walker's) were especially common.
In 1973, a country music song won the coveted SARI Award (South African Music
Industry) for the Song of the Year – "My Children, My Wife" was
written by renowned South African composer Charles Segal and lyricist Arthur
Roos. In 1979 the South African Music scene changed from the Tranetrekkers to
more lively sounds and the introduction of new names in the market with the
likes of Anton Goosen, David Kramer (singer), Koos du Plessis, Fanie de Jager,
Flaming Victory and Laurika Rauch. Afrikaans music is currently one of the most
popular and best selling industries on the South African music scene. Waptrendz
is the big collection of the South Afrikaans Music.
After World War I,
Afrikaner nationalism spread and musicians like Jewish pianist and composer
Charles Segal and accordionist Nico Carstens were popular.
========
The 1950s
========
-------------------
Bantu
Radio and the Music Industry
-------------------
By the 1950s, the music
industry had diversified greatly, and included several major labels. Innovative
musician and composer, Charles Segal was the first white musician to work with
the indigenous African people, recording tribal performers and promoting African
music overseas starting in the 1950s. Charles Segal was also the first white
musician to write in the indigenous African style and to bring the African
music genre into the commercial market. His single "Africa" was a hit
amongst the diverse South African population in the 1960s and he continued to
produce, record and teach his own unique style of African music, which was a
mix of African and Jazz influences. These compositions include "Opus
Africa", "African Fantasy", "Kootanda" and many more.
In 1962, the South African government launched a development programme for
Bantu Radio in order to foster separate development and encourage independence
for the Bantustans. Though the government had expected Bantu Radio to play folk
music, African music had developed into numerous pop genres, and the nascent
recording studios used radio to push their pop stars. The new focus on radio
led to a government crackdown on lyrics, censoring songs which were considered
a "public hazard".
-----------------
Pennywhistle
jive
-----------------
The first major style
of South African popular music to emerge was pennywhistle jive (later known as
kwela). Black cattle-herders had long played a three-holed reed flute, adopting
a six-holed flute when they moved to the cities. Willard Cele is usually
credited with creating pennywhistle by placing the six-holed flute between his
teeth at an angle. Cele spawned a legion of imitators and fans, especially
after appearing in the 1951 film The Magic Garden. Groups of flautists played on
the streets of South African cities in the 1950s, many of them in white areas,
where police would arrest them for creating a public disturbance. Some young
whites were attracted to the music, and came to be known as ducktails. The
1950s also saw 'coloured' bands develop the new genre of Quela, a hybrid of
South African Squares and modern samba. Once again, we see the cross-over
between white, Afrikaans music and the indigenous South Africa music in the
compositions of pianist and composer, Charles Segal, with his penny whistle
hits including "Kwela Kwela" and many others.
=========
The 1960s
=========
In the 1960s, a smooth
form of mbube called cothoza mfana developed, led by the King Star Brothers,
who invented isicathamiya style by the end of the decade.
By the 1960s, the
saxophone was commonplace in jive music, the performance of which continued to
be restricted to townships. The genre was called sax jive and later mbaqanga.
Mbaqanga literally means dumpling but implies home-made and was coined by
Michael Xaba, a jazz saxophonist who did not like the new style.
The early 1960s also
saw performers like bassist Joseph Makwela and guitarist Marks Mankwane add
electric instruments and marabi and kwela influences to the mbaqanga style,
leading to a funkier and more African sound.
Mbaqanga developed
vocal harmonies during the very early 1960s when groups like The Skylarks and
the Manhattan Brothers began copying American vocal bands, mostly doo wop.
Rather than African American four part harmonies, however, South African bands
used five parts. The Dark City Sisters were the most popular vocal group in the
early 1960s, known for their sweet style. Aaron Jack Lerole of Black Mambazo
added groaning male vocals to the female harmonies, later being replaced by
Simon 'Mahlathini' Nkabinde, who has become perhaps the most influential and
well-known South African "groaner" of the twentieth century. Marks
Mankwane and Joseph Makwela's mbaqanga innovations evolved into the more
danceable mgqashiyo sound when the two joined forces with Mahlathini and the
new female group Mahotella Queens, in Mankwane's backing group Makhona Tsohle
Band (also featuring Makwela along with saxophonist-turned-producer West Nkosi,
rhythm guitarist Vivian Ngubane, and drummer Lucky Monama). The Mahlathini and
the Mahotella Queens/Makhona Tsohle outfit recorded as a studio unit for Gallo
Record Company, to great national success, pioneering mgqashiyo music all over
the country to equal success.
1967 saw the arrival of
Izintombi Zesi Manje Manje, an mgqashiyo female group that provided intense
competition for Mahotella Queens. Both groups were massive competitors in the
jive field, though the Queens usually came out on top.
------------
Soul and
jazz
------------
The late 1960s saw the
rise of soul music from the United States. Singers like Wilson Pickett and
Percy Sledge were especially popular, and inspired South African performers to
enter the field with an organ, a bass-and-drum rhythm section and an electric guitar.
In the 1960s jazz split
into two fields. Dance bands like the Elite Swingsters were popular, while
avant-garde jazz inspired by the work of John Coltrane, Thelonious Monk and
Sonny Rollins was also common. The latter field of musicians included prominent
activists and thinkers, including Hugh Masekela, Abdullah Ibrahim (formerly
known as 'Dollar Brand'), Kippie Moeketsi, Sathima Bea Benjamin, Chris
McGregor, Johnny Dyani and Jonas Gwangwa. In 1959, American pianist John
Mehegan organised a recording session using many of the most prominent South
African jazz musicians, resulting in the first two African jazz LPs. The
following year saw the Cold Castle National Jazz Festival, which brought
additional attention to South African jazz. Cold Castle became an annual event
for a few years, and brought out more musicians, especially Dudu Pukwana,
Gideon Nxumalo and Chris McGregor. The 1963 festival produced a LP called Jazz
The African Sound, but government oppression soon ended the jazz scene. Again,
many musicians emigrated or went into exile in the UK or other countries.
While the African Jazz
of the north of South Africa was being promoted in Johannesburg, musicians in
Cape Town were awakening to their jazz heritage. Pianist Charles Segal, who had
moved from Pretoria to Cape Town, brought an enthusiasm for Jazz after several
trips to the USA, where he met and was influenced by the Jazz great Oscar
Peterson. The port city had a long history of musical interaction with
seafaring players. The rise of the Coon Carnival and the visionary talent of
Abdullah Ibrahim ('Dollar Brand') and his sax players, Basil Coetzee and Robbie
Jansen led to Cape Jazz. It was an improvised version of their folk songs with
musical reference to European and American jazz which would go on some 20 years
later to be South Africa's most important Jazz export.
=========
The 1970s
=========
---------------------
Mgqashiyo
and Isicathamiya
---------------------
By the 1970s, only a
few long-standing mgqashiyo groups were well-known, with the only new groups
finding success with an all-male line-up. Abafana Baseqhudeni and Boyoyo Boys
were perhaps the biggest new stars of this period. The Mahotella Queens'
members began leaving the line-up around 1971 for rival groups. Gallo, by far the
biggest record company in South Africa, began to create a new Mahotella Queens
line-up, recording them with Abafana Baseqhudeni. Lead groaner Mahlathini had
already moved to rival label EMI (in early 1972), where he had successful
records with backing team Ndlondlo Bashise and new female group the Mahlathini
Girls. The new Mahotella Queens line-up over at Gallo found just as much
success as the original Queens, recording on-and-off with new male groaners
such as Robert Mbazo Mkhize of Abafana Baseqhudeni.
Ladysmith Black
Mambazo, headed by the sweet soprano of Joseph Shabalala, arose in the 1960s,
and became perhaps the biggest isicathamiya stars in South Africa's history.
Their first album was 1973's Amabutho, which was also the first gold record by
black musicians; it sold over 25,000 copies. Ladysmith Black Mambazo remained
popular throughout the next few decades, especially after 1986, when Paul
Simon, an American musician, included Ladysmith Black Mambazo on his extremely
popular Graceland album and its subsequent tour of 1987.
With progressive jazz
hindered by governmental suppression, marabi-styled dance bands rose to more
critical prominence in the jazz world. The music became more complex and
retained popularity, while progressive jazz produced only occasional hits, like
Winston Ngozi's "Yakal Nkomo" and Abdullah Ibrahim's
"Mannenberg".
---------
Punk rock
---------
During the punk rock
boom of the late 1970s, UK and American Punk influenced South African bands,
such as Wild Youth and Powerage and gained a cult following, focused in Durban
whilst in and around Johannesburg. Bands such as Dog Detachment and The Radio
Rats and Young Dumb & Violent had a similar following on the fringes of the
music scene. Cape Town had a big following with Safari Suits, Housewife's
Choice, The Lancaster Band, The News and Permanent Force (aka Private File
after BOSS intervention), soon followed by The Rude Dementals, The Zero's, Fred
Smith Band, Red Army, Riot Squad, Injury Time and The Vipers. In Cape Town many
gigs took place at 'Scratch' Club (run by Gerry Dixon and Henry Coombes), 1886,
UCT, Off The Road, numerous town halls and other local venues. Some of the
aforementioned bands passed through on tours. The 'RIOT ROCK' tour of December
'79 being a culmination of the period.
-----
Disco
-----
In the middle of the
1970s, American disco was imported to South Africa, and disco beats were added
to soul music, which helped bring a halt to popular mbaqanga bands such as the
Mahotella Queens. In 1976, South African children rebelled en masse against apartheid
and governmental authority, and a vibrant, youthful counterculture was created,
with music as an integral part of its focus. Styles from before the 1970s
fusion of disco and soul were not widely regarded, and were perceived as being
sanctioned by the white oppressors. Few South African bands gained a lasting
success during this period, however, with the exception of the Movers, who used
marabi elements in their soul. The Movers were followed by the Soul Brothers,
and the instrumental band The Cannibals, who soon began working with singer
Jacob "Mpharanyana" Radebe. The coloured (not black) band The Flames
also gained a following, and soon contributed two members (Blondie Chaplin and
Ricky Fataar) to American band The Beach Boys. Harari arose in their place,
eventually moving to an almost entirely rock and roll sound. One of Harari's
members, Sipho 'Hotstix' Mabuse became a superstar in the 1980s.
----
Rock
----
There was a thriving,
mostly white, rock music scene in Cape Town in the 1970s. The album McCully
Workshop Inc. from the psychedelic rock band McCully Workshop is a good example
the genre on Trutone Records. The Trutone label was owned by South African
company Gallo (Africa) Limited an internationally recognised music producer.
========
The 1980s
========
------------------
Alternative
rock and Afrikaans
------------------
The early 1980s brought
popular attention on alternative rock bands like The Usual and Scooter's Union.
In and around Johannesburg the growth of the independent music scene led to not
just a surge of bands ranging from big names (relatively speaking) Tribe after
Tribe, The Dynamics, The Softies and the Spectres through to smaller hopefuls
What Colours, Days Before and No Exit, but also to the growth of a vibrant DIY
fanzine scene with "Palladium" and "One Page to Many" two
titles of note.
South African
alternative rock grew more mainstream with two leading bands, Asylum Kids from
Johannesburg and Peach from Durban having chart success and releasing
critically acclaimed albums. The burgeoning music scene around Johannesburg saw
a surge of small bands, inspired and informed by the UK DIY punk ethic, form
and start performing at a growing number of venues from clubs the likes of
Metalbeat, Bluebeat, King of Clubs, DV8 and Dirtbox to student run venues such
as GR Bozzoli Hall and later the Free People Concert on the University of the
Witwatersrand campus.
One artist of specific
note to come from this era was James Phillips who was involved with several
influential and important bands including Corporal Punishment; Cherry Faced
Lurchers; and his Afrikaans alter ego Bernoldus Niemand (roughly translates as
Bernard Nobody). With his Bernoldus Niemand character, James managed to cross
the language division and influence a whole range of Afrikaans speaking
musicians to the same punk ethic that had inspired him, and an important
Afrikaans alternative rock scene grew from this influence.
During this period, the
only Afrikaners to achieve much mainstream fame were Anton Goosen, a rock
singer-songwriter, and Bles Bridges, an imitator of American lounge singer
Wayne Newton.
-----------
Gothic
rock
-----------
In 1983, Dog Detachment
was one of the earliest groups which combined Post-Punk music with elements of
Gothic rock. South Africa's first Gothic rock band was No Friends of Harry,
formed in the mid-1980s. Other notable bands from the second half of the 1980s
are The Gathering (not to be confused with the Dutch Metal band), The Death
Flowers of No-cypher, Lidice, The Attic Muse, The Autumn Ritual, The Elephant
Celebes and Penguins in Bondage.
In 1995, The Awakening
was formed by vocalist, guitarist and producer Ashton Nyte. The band is credited
in major national press as "South Africa's most successful Gothic Rock act
and one of the top bands in the far broader Alternative scene" and
headlined major national festivals throughout South Africa, including the
country's largest music festival Woodstock, in addition to Oppikoppi[4] and
RAMFest. With more than a dozen top ten national singles between 1998 and
2007, The Awakening were the first goth-styled act to have major success in
South Africa.
Another notable goth
artist was The Eternal Chapter, which had a hit with the cover "Here comes
the man" originally by Boom Boom Room.
--------------------
International
attention
--------------------
The original Mahotella
Queens line-up reunited with Mahlathini and the Makgona Tsohle Band in 1983,
due to unexpected demand from mgqashiyo and mbaqanga fans. Ladysmith Black
Mambazo took their first step into the international arena via Paul Simon on
his Graceland album in 1986, where a series of reissue albums by US label
Shanachie sold very well. Mambazo became world travellers, touring the world
and collaborating with various Western musicians to massive success.
"Graceland" won many awards including the Grammy Award for Best Album
of the Year. A year later, Simon produced Black Mambazo's first U.S. release,
Shaka Zulu, which won the Grammy Award, in 1988, for Best Traditional Folk
Album. Since then, and in total, the group has received fifteen Grammy Award
Nominations and three Grammy Award wins, including one in 2009. The
Graceland album not only propelled Mambazo into the spotlight, but paved the
way for other South African acts (including Mahlathini and the Queens, Amaswazi
Emvelo, Moses Mchunu, Ray Phiri and Stimela, The Mighty Soul beat and others)
to become known worldwide as well.
Johnny Clegg got his
start in the 1970s playing Zulu-traditional music with Sipho Mchunu, and became
prominent as the only major white musician playing traditional black music,
achieving success in France as "Le Zoulou Blanc" (The White Zulu). The
1980s also saw a resurgence in rock and roll bands like The Helicopters, Petit
Cheval, Sterling and Tellinger.
------
Reggae
------
The most lasting
change, however, may have been the importation of reggae from Jamaica.
Following international superstar Bob Marley's concert celebrating Zimbabwe's
independence in 1980, reggae took hold across Africa. Lucky Dube was the first
major South African artists; his style was modelled most closely on that of
Peter Tosh. Into the 1990s, Lucky Dube was one of the best-selling artists in
South African history, especially his 1990 album Slave. The 1990s also saw
Jamaican music move towards ragga, an electronic style that was more
influential on kwaito (South African hip hop music) than reggae. A group from
the Free State called Oyaba also emerged during this period. Their best known
hit songs are Tomorrow Nation, Paradise and Love Crazy. Reggae became quite
popular and there was also a singer from KwaZulu-Natal, Sipho Johnson known as
Jambo who gave the likes of Lucky Dube quite a scare.
---------
Bubblegum
---------
Bubblegum was a form of
pure South African pop music that arose in the middle of the 1980s,
distinctively based on vocals with overlapping call-and-response vocals.
Electronic keyboards and synthesisers were commonplace. Dan Tshanda of the band
Splash was the first major bubblegum star, followed by Chicco Twala. Twala
introduced some politically oriented lyrics, such as "We Miss You
Manelo" (a coded tribute to Nelson Mandela) and "Papa Stop the
War", a collaboration with Mzwakhe Mbuli.
In 1983 a major new
South African star was born, in the lithe, lissom, lusty form of the
irrepressible Brenda Fassie. Her single, "Weekend Special", announced
her as the pre-eminent female South African vocalist of her generation. She
remained unmatched in popularity, talent, and sheer sass to boot, until her
untimely death in 2004.
The late 1980s saw the rise
of Yvonne Chaka Chaka, beginning with her 1984 hit "I'm In Love With a
DJ", which was the first major hit for bubblegum. Her popularity rose into
the 1990s, especially across the rest of Africa and into Europe. Jabu
Khanyile's Bayete and teen heart-throb Ringo have also become very popular.
----------------
The
Voëlvry movement
-----------------
Afrikaans-language
music saw a resurgence in the 1980s as the Voëlvry ("free as a bird"
or "outlawed") movement reflected a new Afrikaans artistic counter-culture
largely hostile to the values of the National Party and conservative
Afrikanerdom. Spearheaded by the singer-songwriter Johannes Kerkorrel and his
Gereformeerde Blues Band, the movement (which was named after Kerkorrel's 1989
regional tour) also included musicians Bernoldus Niemand (aka James Phillips)
and Koos Kombuis. Voëlvry tapped into a growing dissatisfaction with the
Apartheid system amongst white Afrikaans speakers, and thus Voëlvry represents
the musical branch of opposition that was paralleled by literature and the
arts.
=========
The 1990s
=========
-----------
New
rhythms
-----------
In 1994, South African
media was liberalised and new musical styles arose. Prophets of Da City became
known as a premier hip hop crew, though a South Africanised style of hip hop
known as kwaito soon replaced actual hip hop groups. In kwaito, synthesisers and
other electronic instruments are common, and slow jams adopted from Chicago
house musicians like The Fingers, Tony Humphries and Robert Owen are also
standard. Stars of kwaito include Trompies, Bongo Maffin and Boom Shaka. The
band Tree63 also emerged, first known for their hit single, "A Million
Lights" and then further popularised by their version of Matt Redman's
"Blessed Be Your Name".
------
Gospel
------
The biggest star of
1990s gospel was Rebecca Malope, whose 1995 album Shwele Baba was extremely
popular. Malope continues to record, in addition to performers such as Lusanda
Spiritual Group, Barorisi Ba Morena, Amadodana Ase Wesile, Vuyo Mokoena and
International Pentacoastal Church Choir, Rayreed Soul Beat, Lundi, Joyous
Celebration, and the upcoming Scent From Above who have performed in Botswana
occasionally. In 2000s Vuyo Mooena has emerged as the best selling Gospel
artist. His albums have been audited to be in Top 5 selling in the country. In
His album he sang in all South African languages like Venda, Shangaan, Sotho,
Zulu and Xhosa. The industry has also been joined by the likes of Hlengiwe
Mhlaba(whose Aphendule is popular) and Solly Moholo. Also we see the new
singers like Oleseng Shuping become popular and he won the king of gospel award.
---------------
Afrikaans
music
---------------
Prof Piet de Villiers
was the front runner prior to 1994 with his compositions of Boerneef.
The period after 1994
saw a dramatic growth in the popularity of Afrikaans music. Numerous new young
Afrikaans singers (soloists and groups) released CDs and DVDs and attracted
large audiences at "kunstefeeste" (art festivals) such as the
"Klein Karoo Nasionale Kunstefees – KKNK" in Oudtshoorn,
"Aardklop" in Potchefstroom and "Innibos" in Nelspruit.
Apart from dozens of
new songs being introduced into the Afrikaans music market, it became popular
for modern young artists to sing old Afrikaans songs on a stage or in a pub,
with crowds of young admirers singing along. The reason for the dramatic
increase in the popularity of Afrikaans music can only be speculated about. One
theory is that the end of Apartheid in 1994 also meant the end of the
privileged position that the Afrikaans culture had in South Africa. After
losing the privileged protection and promotion of the language and the culture
by the State, the Afrikaans-speaking community seems to have spontaneously
started embracing and developing their language and culture. This was due to
pop artists like Steve Hofmeyr, Nádine, Kurt Darren, and Nicolis Louw bringing
a new fresh sound in Afrikaans Music. Many of the songs sung and/or written by
these artists are similar in sound to Euro dance music. Critics would claim
that all an Afrikaans pop artist needs for a song to be popular is a catchy
tune and an easy beat. This is due to the massive popularity of a form of
couples dancing called "langarm" or "sokkie". The dance
halls where this takes place could be considered as night clubs but they play
almost exclusively Afrikaans pop music. The Afrikaans pop music market
therefore generates tremendous demand for new material.
-----------
Alternative
-----------
The 1990s could be seen
as the genesis of a vibrant alternative music scene in South Africa. The
Voëlvry movement was a major influence in establishing the scene, but subject
material markedly shifted from protest to the more abstract and personal. Major
festivals like Oppikoppi and Woodstock were started and grew steadily, firmly
cementing the niche under predominantly white university students exploring a
newfound intellectual independence after the fall of apartheid. The first band
to reach any major recognition was Springbok Nude Girls established in 1994
whose most recognisable song is the ballad 'Blue Eyes' with their iconic singer
Arno Carstens. Other notable acts established in this decade were The Outsiders
(est. 1991), Fetish, Wonderboom (est. 1996), Boo! (est. 1997), The Awakening
(est. 1996), Henry Ate, Just Jinger (est. 1996), Fuzigish and Battery 9.
-----
Metal
-----
In the early and
mid-1980s there were bands like Black Rose, Stretch, Razor, Lynx, Pentagon,
Montreaux and Osiris. Then came the new breed of South African metal with a
band called Ragnärok, South Africa's first thrash metal band, formed by Dean G
Smith who were labelled as South Africa's Metallica and the only metal band at
that time to have a cult following. They formed in South Johannesburg in 1986
playing covers for a short while and then moving on to original music only.
Through the late 1980s and into the early 1990s, South Africa grew a well
supported metal scene, marked by the release of Johannesburg-based Odysseys'
self-titled album in 1991. There was a burgeoning crossover punk/metal scene in
the major centres, particularly spurred on by Cape Towns' Voice Of Destruction
and Johannesburg based Urban Assault in the very late 1980s. Johannesburg
developed an extreme metal scene in 1992 with rising grindcore/death metal act
Retribution Denied, Boksburg based macabre/death metal act Debauchery followed
by Pretoria doom metal band Funeral, Christian metal act Abhorrence closely
followed by Insurrection, Metalmorphosis, Sacrifist and Agro the latter two
acts of whom still perform today. The Cape Town metal scene was on a high in
the mid-1990s, driven largely by Pothole and Sacraphyx. Pothole would release
two critically acclaimed albums on South Africa's most successful punk/metal
label, Way-Cool Records – their debut "Force-Fed Hatred" is still the
top selling South African metal album to date. Whilst many of the acts failed
to find commercial success in terms of CD sales, there was a devout following
nationally and local metal bands soon opened the national touring circuit to a
higher extent than most other genres. It also attracted international artists
to tour the country almost immediately after the demise of apartheid, with some
of the most respected international artists having seen fit to visit the
country since.
------
Techno
------
The first South African
live techno bands were the Kraftreaktor and The Kiwi Experience. Jay Sonton and
Ruediger Keller from Kraftreaktor and the Kiwi Experience performed at several
raves, playing mainly electronic body music. Their music was mainly influenced
by European artists, but included a unique South African touch. They mainly
integrated African samples to localise their sound.
=========
The 2000s
=========
----------
Blues
Rock
----------
The Blues Rock scene
has dramatically emerged in South Africa. Albert Frost, Dan Patlansky, The
Black Cat Bones, Gerald Clark, Crimson House Blues, The Blues Broers and
Boulevard Blues band are some of the most prominent blues acts in South-Africa.
Figures like Piet Botha and Valiant Swart have largely contributed to the
South-African Blues and Rock scene.
------
Kwaito
------
Kwaito is based on
house music beats, but typically at a slower tempo and containing melodic and
percussive African samples which are looped, deep bass-lines and often vocals,
generally male, shouted or chanted rather than sung or rapped. Many consider it
South Africa's unique implementation of hip hop.
---------
Afrikaans
---------
In a resurgence that
has been linked by some to freedom from Apartheid guilt, Afrikaans music saw a
surge in new artists, album releases and sales after 2000. In 2004 an Afrikaans
album (by balladeer Steve Hofmeyr) was named best-selling album of the year.The
massive purchasing power of the Afrikaner minority is partly to thank for this.
In 2007 an Afrikaans
song about Boer War general Koos de la Rey by Bok van Blerk became a hit amid
fierce debate on whether it represented a call to arms for the reinstatement of
Afrikaner rule or just expressed cultural nostalgia.
While the boom in the
Afrikaans pop industry has continued from the previous decade through the
popularity of arts festivals and dance halls, other Afrikaans music genres
experienced a revival of sorts in the new millennium. Rock and alternative
Afrikaans music had stagnated somewhat after the heady days of the
"Voëlvry" tour and the alternative movement. Signs of a revival could
be found in the arrival of Karen Zoid on the music scene due to her distinct
alternative sound.
Shortly afterwards, a
band of young rockers called "Fokofpolisiekar" became the first group
to create alternative rock in Afrikaans. Their controversial name (translated
as Fuckoffpolicecar), statements and behavior drew much public attention, making
them a symbol of the Afrikaans Rock revival movement. Lead singer Francois Van
Coke and songwriter Hunter Kennedy have gone on to explore other genres of
music also not previously popular in Afrikaans and have ventured into more
commercial routes.
Shortly after the
arrival of this and other rock acts, the first Afrikaans television music
channel (MK89) was opened which focused mainly on rock music. The Afrikaans
(and English) rock and alternative music scene has been booming ever since.
Bands like Battery9, Terminatrix, NuL, K.O.B.U.S. and Thys Nywerheid continue
to reinvent alternative Afrikaans music, while Jack Parow has continued the
Cape's development of Afrikaans rap from pioneers Brasse vannie Kaap, finding
success as far afield as Holland with his 2009 single "Cooler as
Ekke".
-------------------
2009
Breakthrough Experimentalism
-------------------
From 2009 into 2010,
two unique and eclectic but thoroughly South African groups in particular
received high acclaim from international music media, and both groups
challenged traditional genre descriptions. They significantly increased global
recognition of contemporary South African music culture.
BLK JKS' experimental
Afro-rock took inspiration from The Mars Volta to blend their Zulu heritage and
township origins with modern sounds and equipment and an approach to
music-making that seems entirely devoid of boundaries, while maintaining the
sweet melodies and rhythmic qualities of South Africa's traditional music. They
received an important boost after performing in Opening Ceremony of 2010 FIFA
World Cup.
Die Antwoord has
challenged conventions of hip-hop through its blend of English, Afrikaans, and
local slang, and sparse House-influenced production, reflecting the new 'Zef'
counter-culture in its cheap-and-dirty values. The band achieved worldwide
attention with their self-published debut thanks to two striking and humorous
YouTube music videos released in 2010 that rapidly reached viral proportions.
The highly polarised international response to their music helped them secure
an album deal with Cherrytree Records, an imprint of Interscope.
-------------
Drum and
bass
-------------
The South African drum
and bass scene began in the mid nineties. In 2000, events such as Homegrown
became a prominent fixture in Cape Town and a launching platform for
international and local artists such as Counterstrike, SFR, Niskerone, Tasha
Baxter, Anti Alias and Rudeone. Other regular events include It Came From The
Jungle in Cape Town and Science Friksun in Johannesburg.
A weekly Sublime drum
and bass radio show is hosted by Hyphen on Bush Radio.
----------------
Psychedelic
trance
----------------
South African psytrance
is a form of darker psychedelic trance music that started and is produced
mostly in South Africa. Unlike the Russian dark psytrance, South African
psytrance is more rhythmic, melodic and danceable, yet keeps the 'nasty-like'
attitude. Notable record labels include Timecode Records, Mind Manipulation
Device and Nano Records.
======================
South African
Music Today
======================
The South African music
scene has continued to flourish in the 2000s. The decade has seen the rise of
Xhosa singer Simphiwe Dana, whose success has seen her hailed as the "new
Miriam Makeba", with her unique combination of jazz, pop, and traditional
music. Another similar young singer is Thandiswa Mazwai, originally a kwaito
singer with Bongo Maffin. Thandiswa combined local hip-hop rhythms with
traditional Xhosa sounds, creating a rich textured style. 2006 saw the rise of
Shwi Nomtekhala, a duo combining mbaqanga rhythms and maskandi sounds. The duo
has become one of the most influential new acts on the music scene today,
outselling even kwaito artists. Their debut album Wangisiza Baba was a major
hit in the country. Cape Town-based female artist Verity has been recognised
internationally for innovation in the music industry for selling 2000 copies of
her album Journey before it was actually recorded. Rap group "2 and a Half
Secondz" has found recognition in Cape Town suburb, Delft since 2009. Cape
town based band Crimson House has made waves throughout the live circuit being
hailed as one of the greatest live acts in the country garners healthy ever
growing fanbase. In addition Willim Welsyn, part of the Afrikaans rock band
Willim Welsyn en die Sunrise Toffies, was nominated and won multiple awards in
the Afrikaans Alternative categories. He is also the photographer, features
writer and podcast host for the South African Rolling Stone magazine.
Nianell, the South
African superstar, is also another internationally recognised artist in modern
South African music, combing Folk, Classical, Pop, Country, and Celtic music
that make her own unique sound. She has released seven albums with songs that
switch back and forth between Afrikaans and English. Her first platinum hit
that sold more than 2 million copies was "Who Painted The Moon" that
was also covered by international superstar Hayley Westenra. In early 2011, she
made her initial debut in the U.S. with her compilation album Who Painted The
Moon.
Ladysmith Black Mambazo
remain one of the world's most popular choral groups and still retain
popularity in South Africa, with their latest offering being the highly praised
Ilembe (2007/2008). The legendary group boasts three grammy wins. The Mahotella
Queens also remain high-selling, and – with the death of long-time groaner
Mahlathini in 1999 – have recorded several new albums, including their 2007
release Siyadumisa (Songs of Praise). 2008 has also seen the return of a former
singer with the Mahotella Queens, Irene Mawela. Mawela appeared on thousands of
mbaqanga and mgqashiyo recording sessions well throughout the 1960s and the
1970s, recording mainly for Gallo Record Company, often as part of the line-ups
of the Mahotella Queens, the Mgababa Queens, Izintombi Zomgqashiyo, and also
under her own name (though sometimes as Irene & The Sweet Melodians, or
Irene & The Zebra Queens). In 1983 she left the company to record as a solo
artist, with a successful Venda-traditional release Khanani Yanga. Mawela left the
music business in the late 1980s, but returned in November 2007 with a
brand-new album called Tlhokomela Sera, which combines modern contemporary
sounds with pure gospel music, making what Mawela calls "gospel
jive".
The music scene in
South Africa is focused around four major areas, Johannesburg, Cape Town,
Durban and Bloemfontein. One of the characteristics of the scene is the strong
sense of community which sees artist, promoters and venues all actively
involved in developing the local talent. Bloemfontein's music focus is centred
predominantly around the metal and Afrikaans genres. Johannesburg, Cape Town
and Durban are far more wide-ranging in the genres of music covered by bands
and artists. Cape Town is a hotbed for the underground music scene, generally held
to be more experimental than the music produced in the other centres.
Potchefstroom seems to be the newest development ground for Afrikaans rock
music, with various bands like Straatligkinders making their start here.
The introduction of the
South African Music Awards (SAMA), intended to recognise accomplishment in the
South African recording industry has raised the awareness of local artists and
bands. The awards are given in various categories, including album of the year,
best newcomer, best artists (male and female) and the best duo or group. South
African Music Award winners include Karen Zoid, Freshlyground, Tasha Baxter and
Seether.
Uniquely African music
aside, the South African music scene has, to a large extent, been characterised
by bands seeking to emulate popular genres abroad. However, recent years have
seen South African music begin to develop a truly original sound.
South Africa has
several annual music festivals including Woodstock South Africa, MotherFudd,
Oppikoppi, Rocking the Daisies and Splashy Fen. The music festivals cater to
different genres and styles of music. Motherfudd is an exclusively metal
festival held early in the year. The 2008 Motherfudd festival had a line-up of
30 bands with 2 stages and took place near Hartebeespoort. The Oppikoppi
festival started in 1994 and is held in the Limpopo Province of South Africa,
near the mining town of Northam. Originally a rock festival, Oppikoppi has
expanded to include other genres. Splashy Fen is an annual Easter festival held
on a farm near Underberg in KwaZulu-Natal, with a focus on rock and reggae
music. Rocking the Daisies is an annual music festival which is held outside
Cape Town in Darling on the Cloof wine estate. It was established in 2005 with
a focus upon rock music and is a "green" festival for which it has
garnered awards.
Skouspel is a very
popular televised annual concert sponsored by the Afrikaans family-magazine
Huisgenoot, hosted at the Sun City resort. Skouspel (translates as
"spectacle") focuses primarily on Afrikaans music and regularly
features some of the biggest names in the Afrikaans music scene along with new
artists.
South Africa has a
growing field of music journalism. Print-based publications on South African
music are Rolling Stone (South Africa) and a variety of South African music
blogs, such as musicreview.co.za, yourlmg.com, naijaonpoint.com, Gary Cool and
The Riff. There is also a young movement of community rap called Tzaneen Rap,
producing up-and-coming rappers that are already coming up and keeping up with
the rap game. It is a good combination of vernacular Xitsonga and Sepedi and
English lyricism. It was formed in the 1990s and only became popular around
2015. There are vernacular rappers like DNP, Dj Snake and English lyrics from
Ironic, Savanna and Gratitude Moruti. It all began in Limpopo, Tzaneen. South
Africa has experienced a new wave of artists over the last few years, some
artists include Nasty C, Timo ODV, AKA, YoungstaCPT, K.O, Anatii, and Maloon
The Boom.
Several charts have now
been introduced to monitor the progress of the industry. Even though it appears
foreign music still sells more than the current local music. There's a chart by
TINA Magazine that currently monitors top songs in South Africa weekly.
==================
Neo-traditional
styles
==================
Traditionally styled
music is generally appellated as "Sotho-traditional" or
"Zulu-traditional", and has been an important part of the South
African music business since the 1930s. Vocal and concertina records were
released with a call-and-response style and a concertina used as a counterpoint
to the lead vocal. Following World War 1, cheap imported concertinas arrived in
South Africa, especially the Italian brand bafstari.
----------------
Sotho-traditional
----------------
The Sotho musician
Tshwatlano Makala was the first traditional musician to achieve widespread
commercial success. He helped to set the stage for the subsequent rise of
Letsema Mat'sela's band, Basotho Dihoba, which used styles from his native
Lesotho to develop a genre called mohobelo.
By the 1970s, the
concertina of Sotho-traditional music was replaced with an accordion and an
electric backing band. This wave of neo-traditional performers was led by Tau
Ea Mat'sekha.
----
Zulu
----
The Zulu people adopted
the guitar following its introduction by the Portuguese in the sixteenth
century, and guitars were locally and cheaply made by the 1930s. John Bhengu
was the first major Zulu guitarist, earning a reputation in 1950s Durban for
his unique ukupika style of picking (as opposed to traditional strumming).
Bhengu's song format, which includes an instrumental introduction (izihlabo), a
melody and spoken praise (ukubonga) for a clan or family, was widely used for a
long time in Zulu-traditional music. Bhengu, however, switched to the electric
guitar in the late 1960s and began recording as "Phuzushukela" (Sugar
Drinker). His popularity exploded, and Zulu-traditional music entered a boom.
Since the 1970s, the
concertina has returned to Zulu-traditional music, while diverse influences
from pop music and drum and bass were added. Vusi Ximba's Siyakudamisa (1992)
was perhaps the most memorable Zulu-traditional album of the later twentieth
century, and drew controversy for racy, comedic lyrics.
--------------
Tsonga-traditional
--------------
Tsonga traditional
music was first recorded in the 1950s by Francisco Baloyi for Gallo, and showed
a largely African style influenced by Latin rhythms. Mozambiquan musicians Fani
Pfumo and Alexander Jafete became prominent studio performers in the 1950s and
into the next decade. In 1975, however, Mozambique became independent and a
radio station was opened by Radio Bantu, leading to the abandonment of
Portuguese elements from this style.
More modern Tsonga
bands, such as General MD Shirinda & the Gaza Sisters play a style called
Tsonga disco, featuring a male lead vocalist backed by female singers, a
guitar, keyboard or synth and disco rhythms. Thomas Chauke & the Shinyori
Sisters (Tusk Records) have become probably the best-selling band of any
neo-traditional style. George Maluleke na Van'wanati Sisters have also been
instrumental in modernizing the music by experimenting with a faster tempo and
native instruments. The most popular Tsonga musicians, however, has arguably
been either Thomas Chauke, the pop singer Peta Teanet or the equally successful
Penny Penny, Joe Shirimani. Paul Ndlovu is another artist who has contributed a
lot in this genre, with his popular hits, Hi ta famba moyeni and Tsakane.
The modern sound of
traditional Xitsonga music comprises more of the earlier native sounds that had
initially been abandoned in favor of the Portuguese electronic guitars, namely
the xylophone and bass marimba. Bands such as Thomas Chauke and the Xinyori
Sisters and George Maluleke predominantly used guitars; however the modern
sound replaces these with the xylophone or bass marimba. The Tsonga people's
preference for the xylophone and marimba type of sound is inherited from the
timbila music of the Chopi people, which has been entered into the UNESCO
heritage archives as a Masterpiece of the Oral and Intangible Heritage of
Humanity.
--------------
Pedi-traditional
--------------
Pedi-traditional music
is principally harepa and is based on the harp. The German autoharp arrived in
South Africa in the nineteenth century, brought by Lutheran ministers
proselytising among the Pedi. Harepa has not achieved much mainstream success
in South Africa, though there was a brief boom in the 1970s, led by Johannes
Mohlala and Sediya dipela Mokgwadi.
--------------
Venda-traditional
--------------
Venda-traditional music
was also recorded when black music in South Africa was being recognised. The
late 1960s (and, more significantly the late 1970s) saw a boom in
Venda-speaking artists. This was mainly influenced by the launch of a Venda
radio station.
Irene Mawela (who had
been singing in the 1960s and 1970s with groups like Mahotella Queens, Sweet
Sixteens and the Dark City Sisters) significantly impacted traditional and
contemporary Venda music, despite vocal recordings in Zulu, Sotho and Xhosa languages.
Mawela's 1983 release, Khanani Yanga, was one of the most successful
Venda-traditional music albums of that year. After some lean years, Mawela
returned to the South African music scene with Tlhokomela Sera, released in
December 2007. Mawela's recent numbers like Mme Anga Khotsi Anga and Nnditsheni
are very popular. Solomon Matase is known for his hits Ntshavheni and Vho i
fara Phele.
Alpheus Ramavhea,
Mundalamo, Eric Mukhese, and Adziambei Band are also famous for their
contributions to Venda music. The latter band still continues to produce music
with great success, including a recent album release, Mutula Gole, on February
2012. Colbert Mukwevho has been involved with Venda music for over 20 years,
starting with 1980s hits like "Kha tambe na thanga dzawe," "i do
nera rothe" and "saga-saga." In 2006 his comeback album Mulovha
namusi na matshelo, included hit songs "ndo takala hani and zwa mutani
wavho" which remain popular with Venda and Pedi's. He grew up in a family
of music. His father Christopher Mukwevho, then leader of the popular band
Thrilling Artist, used to feature him at young age. Rudzani Shurflus Ragimana
of shurflus was well known for 'muthu wanga a thi mulitshi,shango lo vhifha
muvhilini known for venda regae music together with Khakhathi and friends
Tshganzha,Ntshenge,Regae music is well played by a lot of artists for tshivenda
Others performers
include: Fizzy, Prifix, Bhamba, Komrade Li, SubZro, TAKZIT, Humbulani
Ramagwedzha, Jahman Chiganja, Khakhathi and Friends, Maduvha Madima, Takalani
Mudau, Rapson Mbilummbi Rambuwani, TMan Gavini,Clean-G, Mizo Phyll, Killah Gee,
Jininka, Paul Mulaudzi, Malondo Ramulongo, Burning Doctor, Just ice, Lufuno
Dagada and Tshidino Ndou.
Another singer making a
name for himself in the South African music market is Tshidino Ndou, a reggae
artist who is also owner of Vhadino Entertainment music company. Tshidino was
born and bred in Tshakhuma, a rural village in South Africa in the Limpopo
Province. So far he has two albums, Ndi do fa na inwi(2009) (Till death do us
part) and Nne Ndi Nne(2010) (I am what I am). His song "Ni songo
nyadza" (meaning "do not undermine other people's religions")
featuring a Venda reggae icon Humbulani Ramagwedzha of thivhulungiwi fame is
gaining extensive media exposure through Phalaphala FM, Soweto TV, Makhado FM
and Univen radio.
Tshidino entered the
music scene as a founder member of Vhadino House Grooves group which he
established alongside his brother, Arthur Ndou in 2008. They released their
debut hot album titled Ro Swika meaning we have arrived. The album contains a
controversial song "Ri ya groova" widely known as "Ndo Fara
Mudifho". He has just released a hot single "Ri khou phusha
life" which has already made a mark on radfios and newspapers. The full
album is planned to be released in 2012 and will feature other two giants
Takalani Mudau of baby fusheani fame and the Burning Doctor of A lu na mutwe
fame.
Tshidino is not just a
musician but also a prominent film producer who is more popular in the
Vendawood film industry in the Limpopo Province of South Africa. He plays the
character of Vho-Mulingo in Vho-Mulingo comedy. Other movies he produced
include Mathaithai, Hu do dzula nnyi, Mphemphe i a netisa and Hu bvuma na
fhasi.
One of the Venda Music
promoter is Komrade Li through his Money Ice Group (Pty) Ltd. Some are Tshepo
Manyisa of Manyisa Records, Sello "panki" Makarapa of Tshedza
Production
There are some well
known producers who have also managed to build their own platforms such as:
Chifo Charge, owner and
CEO of FFLR(Future-FrontLine Records).
Tshilidzi Ramulondi,
owner of Mad House Entertainment,which according to the Venda Rap King (Mizo
Phyll) really helped on launching his career.
DJ Davic, owner and CEO
of Masana Records.
There are also young
rappers like Axisesboy who have also managed to grab the attention of many
Venda rap fans, after the Mizo Phyll's peak which some never thought the could
be some other rappers who can reach the level that Mizo Phyll did.
--------------
Xhosa-traditional
--------------
Perhaps the best known
neo-traditional South African music, internationally anyway, is the music of
Amampondo and the solo work of their leader and founder, Dizu Plaatjies. He and
his group took traditional Xhosa music from the hills of Pondoland and the
Eastern Cape and put it on stage worldwide. The success of the genre was how
the exponents combined their music with their stage performances and dance.
===============
African
singers
===============
Singers who have
performed in the Afrikaans language. Solo artists are alphabetized by their
stage name or surname—whichever is more common. Choirs that sing in Afrikaans
are also included in the list
The first major South
African singers to record in Afrikaans were Ada Forrest and Annie Visser, in
1908.
Piet van Wyk deVries, Yolandi Visser, Amor Vittone, Francois Van Coke, Willim Welsyn, RobbieWessels, Dana Winner, Karen Zoid
Wonderboom
==============
Music groups
that perform in Afrikaans
==============
===================
South African Music Awards
Often
simply the SAMAs
------------------------------------
