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![]() ![]() updated June 23, 2025 |
South African Music Zine
edited by Sugar |
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SA RECORD COMPANIES |
BMG,
David Gresham Records,
EMI,
Fresh Music,
Gallo,
M.E.L.T 2000,
Nebula BOS,
Primedia Music,
Sheer Sound,
SonyMusic,
Street Level,
Third Ear Music,
Tic Tic Bang,
Trippy Grape,
Universal,
and USM
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![]() CD of the week archives ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() Splashy Fen 21 June 1999 Like the clear mountain streams that run down from the Drakensberg, where these Splashy Fen Festivals have been regularly held, the music on these two CDs is of the pure and undiluted variety. 35 examples of the wonderful acoustic music produced in South Africa over the past decade, presented here in their live and untouched forms (“No preservatives added!”). A glance through the set list illustrates the wealth of talent on show here, from Jennifer Ferguson, Lesly Rae Dowling and Heather Mac to Dave Goldblum, Vusi Mahlasela, Syd Kitchen, David Ledbetter and many more. From the opening track ‘Chucking Up The Mountain’ by Plagal Cadence, which became the unofficial anthem of this festival, to ‘Makweru’ by Tananas which closes off this double set, ‘Splashy Fen’ is a broad and expansive collection of the finest roots music from South Africa. Many of these artists are not that well known and have been ploughing their own musical furrows for many years, without an appropriate reward. But with David Marks fighting their cause, and diligently recording and archiving their music, there is hope that this intelligent and emotive music could just achieve the recognition it so richly deserves. The booklet that accompanies this double CD is comprehensive and informative.
Each track has its own detailed story and this allows these songs an extra
dimension and relevance. The booklet also contains lists of all the artists who
have performed at this festival over the past nine years. Highlights include
Dorien du Toit’s blues tribute to the late James Phillips. Heather Mac and Mark
Harris’ touching ‘Bittersweet’, the Silver Creek Mountain Band’s love song to
‘Jeffreys Bay’, the Famous Roaches’ version of Dave Goldblum’s ‘Sign Language’
and Goldblum’s own version of ‘Say Africa’. To single out these highlights
however is to do the whole set a disservice. If soft, gentle, live, acoustic
folk music (with a twist of humour) is your bag, then this double CD set is an
essential purchase. If you’ve been to a Splashy Fen Festival, then this will
bring back strong memories. If you haven’t been, then this will definitely
convince you to do so next year!
Abraham is the man behind the words and music on ‘617’, the first release by November 5, and he’s created a piece of music that will hopefully find its way into as many ears as possible, because it is really a wondrous and uplifting album. The opening track, ‘Otis’, is a stirring rocker that mixes scuzzy guitars with a lovely piano melody, but, from then on, the album settles down into an unbroken, beautiful groove. I imagined ‘Otis’ was some kind of tribute to Mr. Redding, but it is in fact a rant at a lift! (“O-tis!…takes you down”). ‘Tell’ slows things down and ‘Wish You Were Here’ is not a Floyd cover but there are complimentary echoes of that song and era. ‘Faces’ builds slowly and emotionally and is followed by track five, called ‘Five’, which is simply five seconds of silence, a kind of cathartic pause in the middle of the album. It seems to work, as ‘Grand Parade’ then rises out of the middle of these songs with its grand pianos and sweet and soaring vocals. ‘I’ll See You Through’ and ‘Wheel’ competently precede ‘Jeu Veux De Toit’ with its orchestral backing and simple melody, enhanced by Tertia’s lovely vocals. Finally, ‘Tonight’ picks up the pace and gracefully brings this absorbing album to a reluctant close. Few new albums bear back-to-back listenings these days, but this one does. It
must be love…
'Say-grin' is simply a two chord guitar riff played over a bed of djembes.
It sounds like one of those late night commune jams but somehow seems to
have an added fluency. 'Propaganja' moves off in a reggae direction while
'Bent In The Snakepit' reprises the sound of 'Say-grin' except with some
funky "wah-wah" electric guitar over the top. While one cannot expect any
of these songs to achieve airplay, this is an album that should be heard
as a continuous whole and more as a soundtrack to their exciting live performances
then a shot at the charts.
'See Saw', Eidolon's eagerly awaited debut release, is as diverse and
compelling as their exciting live shows. These 11 original compositions
mostly feature Kay Vandenberg's expressive and adaptable vocals, which
add light and colour to the various rock and pop styles on display here.
The album was recorded and produced by Eidolon and engineered by Andrew
Smith, assisted by Mike Fleming and Niell Pash. Although the band's sound
works off the typical combination of a tight rhythm section, evocative
guitar licks and cool saxophone touches, Eidolon have enough variety in
their songwriting to keep these songs fresh and interesting throughout.
'Reflections' opens the album with a thunderous drum and guitar burst before
Kay's voice swoops in with emotion and power. This pattern runs through
the album with echoes of Fleetwood Mac, Catatonia and even Skunk Anansie
popping up every now and then. But comparisons are unnecessary here as
Eidolon have developed their own sound and material and seem set to sit
alongside Karma as one of SA's foremost female-fronted rock bands. Other
quality tracks include the emotional 'Deep Within', the sweetly sung 'Sometimes',
and the closing 'She'. 'See Saw' is a competent debut and a promise of
good things to come from Eidolon.
But 'Mona Lisa' is more than just what its sweet subtitle implies. While it does gather together all the softer moments from those albums, as well as a handful of other bonus tracks, it also serves as Koos Kombuis' TRC album. The writer Andre Letoit soon realized that he could make a far bigger impact as the protest-folkie Koos Kombuis, and so he did. His music mixed wistful love songs with full-tilt rock 'n roll. His lyrics mirrored and poked fun at the chaos and angst around him but constantly betrayed his inner desire for peace and harmony. Now that he has found it, it's time to forget the pain and forgive. He vented his anger in the unplanned end-of-recording jam that emerged as 'Blameer Dit Op Apartheid', the companion release to 'Madiba Bay'. By contrast, these 17 tracks on 'Mona Lisa' are packed with simple melodies, warm humour and wonderful words and images. There's 'Lisa Se Klavier', 'Bicycle Sonder 'n Slot', 'Atlantis In Jou Lyf', 'Prayer For Port St. Johns' and 'Onder In My Whiskey Glas', all the old favourites and some unfamiliar gems. Although he spearheaded the 'Alternatief' music revolution of the '80s with Johannes Kerkorrel, in the TV interview he spoke of his dislike for that term. He said they preferred to think that they were the first normal Afrikaners, and that if anyone should be called weird or alternative in those days, it would have to be PW Botha, and not them! He then flashes that enigmatic smile, just like the lady on the CD cover with the bottle of "Tassies" in her hand. (originally printed in the Cape Times/Top Of The Times March 5 1999)
This album was recorded at the London Connection Studios in conjunction
with Andy Byskup and David Maclean. Jerome Reynard's clattering drums keep
all these songs on their toes with a manic energy that also adds a tight
but tough edge to most of these songs. 'Lusion' is a scary little number
that builds towards a musical apocalypse but slows down as one is expecting
it to surge. 'Episode' begins the album after a brief sound byte and immediately
alerts one to the urgency and emotion contained throughout the rest of
these 58 minutes. 'Live At Last', 'Revolution' and 'Shores Of Consensus'
are some of the other stand-out tracks although this is not an album that
demands a single to be plucked out of its midst. It works as a quasi-concept
album and takes a few listens to truly appreciate the breadth of invention
that these four Nines possess.
Released on the MELT 2000 label and distributed through Nebula BOS,
'Urbanzulu' will not only become the album against which all future similar
albums will be judged but will also take Busi Mhlongo's reputation and
music into the new Millennium. These 11 songs were written, arranged and
produced by Mhlongo, Themba Ngcobo and Mkhalelwa "Spector" Ngwazi, and
run a full gamut of emotions and thoughts, all clearly expressed by Mhlongo's
sensitive and confident delivery. Mhlongo's voice cries, whoops, yearns,
ululates and wraps itself around all these songs, creating a continuity
and interest that keeps this album on a completely non-boring level. There
are many complimentary similarities to the Juluka sound, with accordions
and effervescent acoustic guitars adding a twinkly feel to the vocals.
But this is Busi Mhlongo's album and she has grabbed her opportunity to
impress with grace, enthusiasm and some very strong material. 'Urbanzulu'
is South Africa's first entry in the 1999 'crack the international market'
stakes and could go all the way. Busi Mhlongo is a one-person impi
and you'd better be prepared to be conquered.
With song title like 'Oo Aa', 'Welkom', 'Krusti', 'Dick's Advys' and
'Soppi', you know you've entered the weird world of Boo! and these songs
jump all over the place despite the tight playing and arrangements.
The name 'Mahube' means 'New Dawn' in Tswana and reflects these musicians
desire to participate in South Africa's reintegration into the cultural
life of the African subcontinent. The music is a rich and seamless blend
of infectious rhythms, soaring vocals and harmonies and includes songs
like 'Ndiwe Muroyi', 'Ziwere', 'Bambanani' and the title track. The intricate
and evocative harmonies are under-pinned by a wonderful brass section and
surrounded by a clear and sympathetic arrangement. The band's enthusiasm
spills out over this jazzy and traditional album and I'm sure 'Mahube'
will gain the recognition it deserves as a result of the upcoming concerts.
(7)
This CD has a crisp and spacey production coupled with a bunch of delectable
songs and arrangements that typify their Pretoria jazz sound. Opening track
'Niteflight' sets the scene with its bass-driven groove and Tokalon and
Georgiades flourishes. Georgiades also plays the Oud, which is a North
African Arabic fretless lute, to give this music an all round Pan African
sound. Tracks like 'Salty', 'Dance In Trance' and 'Déjà Vu'
swish by with a delicate energy and melodious mix. As a whole, 'Dogma'
is a strong and satisfying SA album to kick off 1999 and is very recommended.
Jorge Carlos played all the instruments on this album and produced and engineered it as well. Songs like 'Electric Ocean' (not that web company's theme tune!), 'Majordome' and 'Calling Of The Whales' surge along on a bed of beats, sequencers and sound effects. The CD boasts a beautifully shot cover and booklet that for once creates a package that highlights the content of this album to its best advantage. This album runs for over 70 minutes and can be played loud for a non-stop party rave or softly for those laid-back sunny afternoons. It has a fresh and original sound and its textures and pacing makes 'Trip Of Africa' the first trance album that can safely crossover to the non-dance market. With several overseas companies showing interest in this album, it's kudos to Nebula BOS for having the vision to release this album as part of its "Indie Music Explosion" distribution campaign. There is a strong feeling that this exceptional album could just be this new record company's first big hit and deservedly so. 'Trip Of Africa' is a shimmering, exciting and "trippy" album that will be around well into the year 2000 and beyond. And keep your eyes and ears peeled for further music by this versatile and talented musician. Jorge Carlos has arrived and SA music will never be the same again. Highly recommended! Blunt the Banned – The Kutz 14 December 1998 Blunt ("the banned"), as the members like to describe themselves, has also laid claim to being "South Africa's first, live, original, hip hop band". The "first" part is debatable, as they have only been around since the middle of 1997. "Live" is accurate, as the band is a completely live act (except for their CD) with real drums, guitars and keyboards. There is also some beat-boxing and a DJ doing some scratching and sampling. The band's main influence is hip hop but due to the members varied musical interests, the focus has shifted to a more experimental direction in terms of their sound and performance; hence the "original" tag! At the Art's Festival in Grahamstown in 1998, Blunt participated in an alternative production of Shakespeare's 'A Midsummer Night's Dream'. The band composed a live hip hop score, which was performed during this acclaimed show. Blunt then performed at the OppiKoppi Bushveld Blast on the Campus and Hip Hop stages before finishing off a successful outing with a wild performance on the Martell main stage. They also walked off as winners of the Caltex "Battle Of The Bands" competition. Griffith and Hamish Jeppe, the co-founders and lead vocalists, were previously with the rap outfit, Southside Unit (formerly L.A.P.D). The bands Gunk and Reggae Project contributed Graham Blak (drums) and Michael Jones (guitar), respectively. Phillip Bardone (keyboards and bass) later joined from The Streaks and Backroom Jungle. So, with a (blunt) sword of expectation hanging over their heads, this five-man hip hop group have released this debut seven-track EP with confidence, attitude and a keen grasp of this contemporary hard-edged sound. 'NBK' opens (and closes) the album with a short, menacing intro to the thunderous 'Drop Da Bomb'. 'Way We Do' slows down to a percussive and two-note keyboard pulse and Rollin' Strollin' uses voices, sirens, helicopters and overlappin' rappin' to create a thematic and sinister piece. 'Plannin' A Robbin' could have been lifted straight off a Fun Lovin' Criminals' album with its laid-back, '60s groove and softer vocals. 'Wonderweed' is a stoned babble over a cool, grungy guitar and 'NBK' (Natural Born Killer) pops up again, in a longer form, to end this assured and exciting album on a threatening note. With 'The Kutz', Blunt have clearly shown that all the nuances of late '90s hip hop are well within their collective capabilities and their first full album should be a killer! (7) Karma - One Day Soon 7 December 1998 Karma-Ann Swanepoel's debut solo album arrives on a wave of expectation following the success of the previous Henry Ate album, 'Slap In The Face'. As songwriter and vocalist for Henry Ate, Karma fulfilled her early promise as an SA artist of great potential. The band split up however and the newly formed Primedia Music decided to surround Karma with a new band. They retained Henry Ate veteran Julian Sun on backing vocals and guitar and added ex-Bright Blue and Mango Groove drummer Peter Cohen and Brendan ou Tim on bass. Max Mikula also contributed some subtle guitar textures and shadings to the album. Willem Moller and Marvin Moses were asked to help Karma with the production of 'One Day Soon' and the resulting album is sure to cement Karma's already glowing reputation. Karma wrote all these songs and they all have a similar feel and tone
with the intricate melodies and intelligent lyrics emerging after a few
listens. As the first single, 'Dr Pepper' could have been replaced by at
least six of these songs but does its job with a light, poppy performance.
The title track opens the album with an assured and confident "cheers'
to an ex-friend. 'Indian Giver' is a slow and emotional ballad and 'Delorise'
Point' has a sassy Michelle Shocked-type, cynical vocal and skippy beat.
'Days Like These' is a gorgeous, accordion-backed song and 'Pachabal'
is a simple melodic tribute to this classical composer focusing on the
emotional undercurrent of unrequited love. This very ("Karma Chameleon")
green cover adorned with simple close-up shots of Karma illustrates the
understated intentions of this excellent album. Karma's songs are uniformly
interesting and evocative and the backing and production is geared to emphasise
the strength of her compositions. 'One Day Soon' will satisfy all those
Henry Ate fans and bring many more new fans into Karma's orbit. This album
is simply and succintly "Good Karma" and is really worth buying.
Kerkorrel then left the oppressive SA musical climate for a stay in
Amsterdam where he connected with many other exiles and performed sell-out
concerts in Belgium and France. 'The album 'Bloudruk' followed and Kerkorrel
spent the next few years travelling to and from SA and collaborating with
musicians like the Dutch star, Stef Bos and Thandi Klaaasen. This album
was a hit in the Benelux countries and established Kerkorrel as a European
star where he performed many concerts. In 1994 he released his third album,
'Cyanide In The Beefcake' and toured SA with his all-SA star band. He won
the FNB music award in 1995 for "best rock music performance" and a documentary
on him by Ken Kirsten won an Artes award as well. While living back in
Cape Town he released 'Ge-Trans-For-Meer' which won more awards and produced
a series of sold-out shows, highlighting the music on this album. Now a
star in both SA and Europe, Johannes Kerkorrel continues to mine the rich
seam of Afrikaans music that he helped to expose. The songs on this quality
compilation run from his first hit, the punky 'Sit Dit Af' through other
milestones like 'Hillbrow', 'BMW', 'Halala Africa', 'River Of Love', 'Onder
In My Whiskey Glas', 'Al Die Berge Nog So Blou' and the closing (satirical)
'Wat 'N Vriend Het Ons In PW'. A wonderful and nostalgic album by one of
South Africa's biggest and most important artists of the '90s. Essential!
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![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() Lots of SA CDs to buy online at One World. There's also the Two Oceans Trading online shopping mall where you can purchase Springbok rugby merchandising, SA books, jewellery and CD-ROMs, amongst many other items. Any thoughts, requests, problems, complaints, praise or interesting and relevant SA music news, please email it immediately to: sugar@cd.co.za
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