During the near two-decade period of mbaqanga’s rule over the townships, the classic combination of girl group, groaner and electric backing band was interpreted in different ways by the record companies who dominated the South African m...
During the near two-decade period of mbaqanga’s rule over the townships, the classic combination of girl group, groaner and electric backing band was interpreted in different ways by the record companies who dominated the South African music market. Many of the most popular groups of the day targeted specific sections of the audience, such as Usizwe Namatshitshi, who aligned their particular mbaqanga sound with the more “rural” members of the record-buying black public. Others, like the Mahotella Queens, attempted to keep their reach as broad as possible, with recordings made in “traditional”, soul and typical pop sounds. The black music production units of the local companies consciously and obviously avoided targeting its entire product on one sector, but some companies often exuded and emitted a particular trademark sound on every recording it crafted. The indigenous music produced by the Satbel Record Company can be best described as a very interesting mixture of raw energy and easy listening. The honest emotions released through the artists’ performances are abundantly clear to hear, and one cannot help but sit back and marvel at such soulful pieces of work. This compilation collects some of the finest material released on the Satbel labels during the mid-1970s, a time when mbaqanga had perhaps already peaked in its popularity as the sound of the townships – but no hell was about to bar the way of musicians who enjoyed what they were doing.Most of the examples representing Satbel’s 1970s mbaqanga productions are of Mahlathini, the rightful king of the groaners and perhaps South Africa’s most recognisable male vocalist. The sound of Mahlathini’s music at Satbel was somewhat more energetic and fierce than it had been at Mavuthela, where he had recorded between 1964 and 1972 (he briefly joined EMI in 1972, before moving to Satbel in 1973). It was with Mavuthela’s Mahotella Queens and the Makgona Tsohle Band that Mahlathini soared to stardom, recording some of the most hypnotic, infectious and impassioned mbaqanga music ever laid down on wax. But the overarching component in the music of Mahlathini’s Satbel years is raw emotion. It is a feeling that can be heard in every single element of a song, from Raphael Ngcamphalala’s lead guitar, to Mahlathini’s defiant but somehow poignant roars, to the beautiful serenity of the voices of Mildred Mangxola and her fellow Queens (a separate but related group of singers to Mahotella). This brilliance was, thankfully, bottled for us to all drink and enjoy. Aside from The Queens, Mahlathini also recorded with a quartet known as the Mahlathini Girls. Featuring Lindiwe Gamedi, Hilda Tausi, Gugu Sithole and Beauty Radebe, the group actually recorded mostly with fellow groaner Joe Mdluli. Their 1975 single, "Baya Ngi Hlega", is a masterpiece.Also on the roster was a wonderful instrumental team called The Soweto Boys, whose captivating and inexplicably catchy tunes could give the Makgona Tsohle Band a run for its money. George Mangxola provided the beautiful lead guitar, Christian Nombewu played rhythm guitar and John Galela held the melody together on bass. Noah Nduweni usually provided the alto saxophone lead. The Boys’ sax jive tunes are certainly foot tapping – their recording of “Kumnandi” is perhaps one of my favourite songs, with its repetitive melody and somewhat hilarious introduction featuring a studio-full of musicians bursting into laughter. The Naughty Boys appear to be the same line-up of musical players, with a keyboard joining the mix on the straightforward “Again and Again” number featuring an archetypal spoken introduction.I hope you enjoy this eclectic collection of powerhouse mbaqanga sounds. For me, these songs are some of my personal favourites. They are yet more examples of the indestructible beat… the music that will never die… let’s keep the torch flaming!SATBEL SPECIALCOMPILED BY NICK LOTAY1. Abake Ba BonanaMahlathini and The QueensKing, 19752. Ngiyeke NgiyoshelaMahlat
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