South African Popular Music Masterpieces III
by Sheldon Rocha Leal
The last time I wrote an article in this series was in 2021 with the aim highlighting songs which in my opinion are iconic South African musical masterpieces. For me, these are songs that have stood the test of time, preserved our culture/heritage, encapsulate what it is to be South African and are still relevant today. Historically, composers used to create pieces that could last up to half an hour (or longer), but as society has evolved and attention spans have reduced, this has changed. In the 1950s the average song duration was just over two minutes, in the 1990s this evolved to over four minutes, with the advent of TikTok and social media, this has reverted to just over two minutes.
The beauty of modern songwriting is that an author must convey a fully formed message within a limited duration. If they are proficient at what they do, the message will be something that moves people across various generations and will possibly alter the trajectory of Popular culture. This is quite a task when one considers that a novelist has more than 200 pages to tell a story or a screenwriter 60 minutes or up to 13 episodes (in the case of a series) to develop a storyline. There is, however, a finite time limit in telling a story in song. I have become obsessed with unearthing these popular culture treasures, always keeping my ear to the ground and Shazam at the ready.
In the previous articles I featured songs by some of South Africa’s most iconic talent, spanning various decades and genres and this article is no different. These songs are performed by some of my favorite South African artists including Laurika Rauch, Brenda Fassie, Yvonne Chaka Chaka, Johnny Clegg and Boom Shaka. Some of the songs I previously selected I didn’t even know were performed by South Africans until I did some deep diving. That is part of the beauty, excitement and voyage of discovery in developing the content for these articles. Without further ado here are the 10 songs selected for the third iteration of this series of articles:
1. Liquideep: Fairytale (2010)
Liquideep was a House/Soul duo that rose to prominence in 2007. They were made up of Jonathan “Ziyon” Hamilton and Thabo “Ryzor” Shokgolo. Jonathan is an American producer/DJ who settled in South Africa in 2004 and became fascinated with the House music being produced in the country. He met Thabo, originally from Alexander township, through a mutual friend, who was keen on learning the art of production. The two started exchanging ideas. In 2007 they created Liquideep and in 2010 released their biggest hit, “Fairytale”, off their third album “Oscillations” (2009), which was written about a breakup. The song reminds my of the Malaika’s 2004 hit, “Destiny”, although the tempo is much slower. The song won the 2010 Channel O Award for Best Dance Music Video. In 2014 the band broke up, with the members pursuing solo projects.
2. Just Ginger: Father and Father (1997)
The band (now known as Just Jinger) was formed in 1996, soon after the election of South Africa’s first democratic government. It was a time of hope, and great expectations for the country’s future. The band consisted of Ard Matthews, Brent Harris and Denholm Harding, emerging at a time when Rock music dominated world charts. Their output was well received, becoming one of South Africa’s biggest selling Rock bands. “Father and Father” was included on their debut album “All Comes Around”, at the time the best selling Rock album in the country’. The song had a distinctly Folk/Rock sound and Ard Matthew’s raspy Rock vocal elevates it to its iconic South African status. It is reminiscent of classics by acts such as Cat Stevens, Rodrigues and Don McLean. At the time the song was heard everywhere and dominated South African charts.
3. Yvonne Chaka Chaka: Umqombothi (1987)
By the time Yvonne released “Umqombothi” (1988) she was a certified star. It was featured on her third studio album, “Thank You Mr DJ” (1987) and written by Sello “Chicco” Twala and Attie Van Wyk. Van Wyk went on to become one of South Africa’s greatest music entrepreneurs, starting a company called “Big Concert”, later bought by “Live Nation”. The song was executive produced by Chaka Chaka’s mentor Phil Hollis and is about a traditional South African beer. “Umqombothi” talks about how the making of the beer is a unifying social activity. The song has a Mbaqanga groove and secured Yvonne’s reputation as a star in the genre. This single was a crossover hit, with people from all sides of the spectrum pumping it on their boom boxes. This festive song was later used in a movie about the Rwandan genocide, “Hotel Rwanda” (2004).
4. éVOID: Shadows (1983)
The Punk/New Wave band was formed in Brakpan in 1977 by Lucien Windrich, his brother Erik and high school friend Benjy Mudie. Mudie left the band and became a seminal figure in the music business, signing the band whilst working at WEA in 1983. They were later joined by George Voros in 1982 and were managed by a third Windrich brother, Karl. Other band members included Danny De Wet, Wayne Harker, Terry Andalis and Josè D’Aguiar. éVOID’s eponymously titled debut album yielded one of South Africa’s most recognisable hits, “Shadows”, which peaked at No3 on the SA single’s chart. The song has a distinct Punk, Ska sound, with influences of Reggae and a distinct melodic bassline. The mid-tempo Rock song is one of the most recognisable pieces in the South African music canon. It was later used in the “Spud” (2010) soundtrack.
5. Clout: Substitute (1978)
Although “Substitute” was not written by a South African, the most famous version was recorded by a South African all-girl group called Clout in 1977. The song was written by Willie Wilson and originally released by The Righteous Brothers in 1975, but no one seemed too interested and it didn’t make much impact on the charts. Clout was formed in the 1970s in Johannesburg and consisted of 5 female musicians: Cindy Alter, Glenda Hyam, Lee Tomlinson, Ingrid Herbst and Jenni Garson. They were approached by record executive and producer Graeme Beggs to sing on a track backed by a band called Circus in 1977. It was released in 1978 and became an unexpected hit, charting at No1 New Zealand, Germany, Ireland, South Africa and No2 in the U.K., Holland, Belgium and Switzerland, shipping over 1million units worldwide. It is clear to hear why this uptempo, infectious, anthemic song became a hit.
6. Miriam Makeba: The Click Song (1960)
“The Click Song”, originally known as “Qongqothwane”, is a traditional isiXhosa folk tune. It is usually sung at weddings to bring the bride and groom good fortune. The song title means “knock knock beetle” referring to various species of darkling beetles that make a knocking sound by tapping their abdomens on the ground. The beetles are considered, in isiXhosa culture, to bring rain and good luck. Although well known in South Africa the song attained international acclaim after Miriam Makeba recorded and included it on her eponymously titled debut RCA Records studio album in 1960, whilst in exile. Because US audiences were unable to pronounce “Qongqothwane” the title was changed to “The Click Song”. The Makeba, Khoza, Majola, Mdedle and Mogosti arrangement along with Bob Bollard’s production and the backing of Harry Belafonte’s band made the song an international hit.
7. Brenda Fassie: Too Late For Mama (1989)
The Queen of African Pop is a national hero and released many outstanding hits. I have had a love affair with many of her songs, but this is one of my recent obsessions. The mid-tempo song has a majestic feel, with an amazing chord progression and bassline. It feels like the type of song one would use to make a grand entrance in a spy movie at the Casino Royale in Montenegro. Like “Umqombothi” the song was written by “Chicco” Twala, who wrote many of Brenda’s hits. The song was the centre piece of Brenda’s 1989 album “Too Late For Mama”, her 4th solo studio album and 8th overall if one considers her output with The Big Dudes. She was only 25 years old at the time of the release. The song highlights the plight of the poor in South Africa and talks about a women who is struck down by lightning, whilst attempting to collect water for her family.
8. Pat Shange: Sweet Mama (1985)
Shange was born in 1956 and brought up in Pietermaritzberg, KwaZulu-Natal. He started playing music at a young age and was eventually discovered in 1977 by an A&R from Jo’Burg Records, Wilson Ndlovu, headquartered in Yeoville and owned by Patric van Blerk. He began as a Mbaqanga artist, but by the mid-1980s started experimenting with an Italo-Disco/Bubblegum audio aesthetic. In 1985 he released “Sweet Mama” which tore up the charts and went on to sell over 100,000 units in South Africa, attaining a multi-platinum certification. The song has a distinct 1980s sound, reminiscent of songs by artists like Madonna. Pat was instrumental in encouraging Yvonne Chaka Chaka’s mother to allow her to explore a career in music. He unfortunately succumbed to Covid in 2021 aged 65. He was from the same stable of artists as Margret Singana, Rabbitt and Clout.
9. Margret Singana: Mama Tembu’s Wedding (1975)
After getting her big break appearing in Alan Parton’s musical “Sponono”, Margret started performing with The Symbols. In 1973 she was cast as a lead in a musical called “Ipi Tombi”, which means “Where Is The Girl?” in isiZulu. It was written by Bertha Egnos and her daughter Gail Lakier and tells the story of a husband and wife who leave their village and move to Johannesburg to work on the mines. The show attained worldwide acclaim, being nominated for a Laurence Olivier Award for Best Musical in 1977 and having separate runs on the West End (London) in 1976 and Broadway (New York) in 1977. The musical pastiches joyous township music, with the centrepiece of the show being song that has become a South African standard, “Mama Tembu’s Wedding”. The song was a massive Pop hit charting at No6 on the Springbok Top 20 in 1975.
10. Mercy Pakela: Ayashisa Amateki (1988)
Mercy was born in GQ (aka Gqeberha aka PE) in 1962 and at the age of 16 hitchhiked her way to Johannesburg to find fame and fortune. She signed a recording deal with MFM (Mike Fuller Music) and became famous for her Pantsula dance moves (a dance form dominated by male dancers), acquiring the title of The Queen of the Pantsulas. In 1985 she released her debut album which sold 15,000 units. Mercy was inspired to write her biggest hit, “Ayashisa Amateki” (1988) after hearing her male Pantsula dancer friends talking about their sneakers. The song was featured on her album “Run Baby Run”. In the song she talks about the fact that her sneakers are burning her feet because they are too small, possibly because they were hand-me-downs. The song is a satirical take on township life and falls in the Bubblegum Pop/Pantsula genre. It’s a banger.
The songs included in this iteration of the “South African Popular Music Masterpieces” series span five decades and diverse genres including House, Disco, Pop, Rock, Folk and Bubblegum. It just goes to illustrate the diversity represented in our country, not only from the perspective of demographics, but also from the vantage point of musical tastes. The one thing most of these songs have in common is that not only where they hits in their respective communities, but they managed to traverse the colour lines and attracted big audiences from varied backgrounds. Music is a powerful unifier that connects people regardless of their beliefs, convictions and political affiliations. When it comes to pumping a jam, all an audience wants is something that will move their hearts and feet, and in most of the above cases that is exactly what they do.
This article brings to 30 the number of songs I have highlighted in this series and for some reason I seemed to be attracted to songs about mothers in this one: “Mama Tembu’s Wedding”, “Too Late For Mama” and “Sweet Mama”. Most of the songs included in this article are celebratory, even though at times they are dealing with very serious subject matter. It’s an indication of the general positive disposition of South Africans, who tend to always find the silver lining in every situation. South Africans generally has a wonderfully self-deprecating sense of humour, which is always welcoming to outsiders. The one thing that sets us apart from other communities around the world. This brings to an end the third edition of this series and I will endeavour to continue unearthing and searching for “South African Popular Music Masterpieces”.
