Welcome to “Sounds of South Africa,” a carefully curated compilation of 20 songs that showcase the rich and diverse musical landscape of South Africa. This mixtape is designed to introduce an international audience to a wide range of styles from this vibrant country, including rock, pop, jazz, folk, reggae, mbaqanga, kwaito, and more. We invite you to immerse yourself in these captivating sounds and explore the unique musical tapestry of South Africa.
This is the original uncensored music video for Bright Blue’s seminal South African song ‘Weeping’. It was filmed by Nic Hofmeyr on the Cape Flats in the late nineteen eighties, during the State of Emergency. Catch the ‘Nkosi Sikelela’ bridge, snuck onto SABC airwaves despite the anthem’s banning, and look out for the late Basil ‘Manenberg’ Coetzee on sax, filmed in Manenberg township! The song has been covered by Josh Grobin, Vusi Mahlasela and others.
Nic Hofmeyr
Lyrics
I knew a man who lived in fear it was huge it was angry it was drawing near Behind his house a secret place was the shadow of the demon he could never face.
He built a wall of steel and flame and men with guns to keep it tame Then standing back he made it plain that the nightmare would never ever rise again But the fear and the fire and the guns remain.
It doesn’t matter now it’s over anyhow He tells the world that it’s sleeping But as the night came round I heard it slowly sound it wasn’t roaring it was weeping it wasn’t roaring it was weeping.
SAX SOLO – Basil Coetzee
And then one day the neighbours came they were curious to know about the smoke and flame They stood around outside the wall but of course there was nothing to be heard at all “My friends”, he said, “we’ve reached our goal the threat is under firm control As long as peace and order reign I’ll be damned if I can see a reason to explain Why the fear and the fire and the guns remain”.
It doesn’t matter now it’s over anyhow He tells the world that it’s sleeping But as the night came round I heard it slowly sound it wasn’t roaring it was weeping it wasn’t roaring it was weeping.
SAX
It doesn’t matter now it’s over anyhow He tells the world that it’s sleeping But as the night came round I heard it slowly sound it wasn’t roaring it was weeping it wasn’t roaring it was weeping.
Composed by: Heymann/ Fox/ Cohen/ Cohen
Recorded and released by Bright Blue in 1987. One of South Africa’s greatest songs… includes instrumental references to ‘Nkosi Sikelel’ iAfrica’.
Lyrics and vocals by Nielen Mirror Guitars and piano by Allan Faull Recorded and Produced by Tully McCully At Spaced-Out Sound Studios, Cape Town
Unreleased and previously unavailable material from the iconic South African Alternative band, Falling Mirror.
In memory of Allan Faull and Pat Humphreys.
Proceeds go to Nielen Mirror.
For the Falling Mirror fans: I found a rare quarter inch tape, buried in my storage area, with the first demos Allan and Nielen did before recording their debut album. Very interesting to listen to 45 years later. It’s available on Bandcamp where you can name your price if you are feeling generous. All money will go to support Nielen and your support is greatly appreciated.
I will be posting some more rarities in the future so please follow and share the Bandcamp page
The first issue of the SA Rock Digest went out on the 27th January 1999 to 15 subscribers in a plain text email.
It grew out of conversation in 1998 between Brian Currin and Stephen “Sugar” Segerman, who had both been involved in the amazing Rodriguez story.
“What do we do now?”.
“How about remembering South Africa’s Legends of Rock?”.
So we did.
In this issue:
Introduction Memories are made of this Freedoms Children Where’s my Tuxx? Lost drummer? Info wanted The Hidden Years Japanese pressings of SA Rock Classics?!? The A-Cads, anyone? Top Ten favourite SA rock songs
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INTRODUCTION
Welcome…
This is a discussion forum for anything about South African rock music; past, present and future.
Read it, digest it, enjoy it, add your comments and tell your friends….
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MEMORIES ARE MADE OF THIS
I am a South African who was a teenager in the early 70’s and remember going to Ciro’s in Jhb to see bands like Clout and Ballyhoo by train, as I was not old enough to drive (or drink for that matter). I currently live in California and met up with an old friend and started reminiscing about the good old days in SA and started remembering all those great bands that unfortunately never gained the recognition they deserved.
Memories of Saturday morning concerts at the Coliseum, as well as the Ellis Park and later Free People Concerts came flooding back.
— Craig B
I am glad I survived the 70’s and 80’s. Anybody that used to go to the Canterbury Inn, Stealers, Hout Bay Hotel, Mowbray Hotel, Beverly Hills Hotel and 1886 will know what I mean. South Africa had some good bands and I am glad I had the opportunity to experience most of them first hand.
— Piet Obermeyer
{Brian “nostalgia rules” Currin: I was in the army at Youngsfield in CT in the late 70s and remember seeing McCully Workshop at the Canterbury Inn, Charles G and John T at Stealers, Baxtop at the Chelsea, Joe Parker at the Century Hotel, Omega Ltd at the Clifton, Ballyhoo at the Rotunda, oh the memories….}
You may recall the great Israeli band, Jericho? I had a wonderful opportunity to see them rehearsing with Hawk in the Sandown Town Hall in 1971. The following day, they both featured in an open-air concert with the likes of Freedom’s Children, Razamatazz and a whole bunch of great bands. Those were the days, my friend…..! By the way, both Jericho albums have been available on CD (Repertoire) for about five years.
And the days at the Branch Office restaurant in Jeppe Street, Jhb? Duncan MacKay was the greatest thing since multi-speed vibrators – SA’s answer to Rick Wakeman, Lee Michaels and Rick van der Linden!
— Leon Economides
TIDAL WAVE are remembered primarily for the vastly and incomprehensibly over-rated “Spider Spider” and the indifferent “Mango Mango”. The B-side to “Spider” was infinitely better (“Man on a String”) but their best ever (again in my humble view) was “WITH TEARS IN MY EYES” which was vaguely popular in late 1969 (pre-“Spider”) but which is extremely hard to find; frustrating for me as it is well within my personal top 40.
In Kimberley in 1971 Tidal Wave and Otis Waygood appeared as a double bill. Probably the second best concert I’ve attended. (The best was undoubtedly Barclay James Harvest who were less remarkable after the departure of Woolly Wolstenholme).
Tidal Wave – in concert – were asked to do “TEARS” but declined, saying acoustics not right and a full orchestra needed to do it justice. Oh, I think they had members who hailed from (the then) Rhodesia.
— Peter Alston
I have lived in California since 1990 and have explored other business ventures but over the last few years developed a keen interest in Rock and Roll collectibles and memorabilia. I’ve also been having flashbacks to my teens and have wonderful memories of the South African music scene in the 70’s and early 80’s.
Thanks again for you excellent sites and if you or anyone else you know ever needs help locating music gear or related items I would gladly do research or send info (I know how expensive equipment is in SA)
— Craig Ballen
“CBallen777@aol.com”
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FREEDOMS CHILDREN
(Freedoms Children) is perhaps most closely associated with the ASTRA album (1970/1). Less frequently encountered or spoken of is its predecessor KAFKAESQUE which includes such marvellous numbers (apart from the title track) as “Mrs Browning” and their best ever – in my humble view – “Eclipse”. Another song of merit was the appropriately (for now) titled “1999” which the lead singer tried to revive last year apparently without much success.
— Peter Alston
{Brian “detail nut and trivia freak” Currin: Kafkaesque (the album) was actually titled “Battle Hymn Of The Broken-Hearted Horde” and was released in 1968. “1999” comes from the “Galactic Vibes” album in 1972.}
I’m interested in finding out what happend to the black guy in Just Jinger. His name was Tuxx and I think he played bass, it was supposed to be the beginning of inter-racial rock but as soon as JJ got popular the guy just disappeared and there has been no trace of him since, there has been rumours of him disappearing to Zimbabwe and also rumours of him and cocaine.
— Craig Gibbs
{Brian “Just Jinger fan” Currin: Pri$m (a Digest member) has a great Just Jinger site at: home.pix.za/gk/prism/sites/jjinger/ }
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LOST DRUMMER?
…does anybody happen to know anything about a drummer called Tony Awin? He was a South African-born drummer who moved to the UK in the early 70’s and featured with a power rock trio called Incredible Hog. They released a single excellent album, also available on CD, called “Volume 1”, and split in 1973. They did write enough material for a second album, but this never materialised.
I’ve subsequently heard that an unknown German label managed to get hold of these “lost tapes” and is in the process of putting together a CD of this material. I’d really like to get a chance to interview Tony about these “lost tapes” as well as about the band, so if anybody can help, I’d be extremely grateful.
— Leon Economides
{Brian “prog-rock” Currin: listen to Leon and Phil Wright on Dinosaur Days on 5FM, Sunday nights from 11.30pm, great stuff!}
The BAND: FACTORY The year: Hmm about 1985 somewhere The song: I want to fly in a 747 Name of the album: ?????
Lead Guitar: Andre Meyer
Song was played on the Martin Bailie show a lot on Radio 5. I think he might have even had a hand in putting the album together.
I HAD this LP – but when I left South Africa it stayed behind. Does anybody know if there is a CD version of this album and if I can purchase it online?
I have tried One World already – its not on there.
Thanks for any help.
— Nico
{SA’s premier on-line CD store:
oneworld.co.za }
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THE HIDDEN YEARS (extract from long posting on message board)
The irony is that if we do not [remember the music], the apartheid security establishment would have had the last laugh! Their aim – to prevent us from listening to ourselves – would have been achieved.
— David Marks, Third Ear Music’s Hidden Years Project
{Brian “Zappa fan” Currin: Great comment Dave! I remember receiving lectures in the army on the evils of playing records backwards (!) and how corrupt Zappa was, etc, etc…}
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JAPANESE PRESSINGS OF SA ROCK CLASSICS?!? (extract from posting on message board)
…Suck, Abstract Truth’s Totem, Duncan MacKay’s Chimera, Otis Waygood’s Ten Light Claps and another great SA hard rocking band, Wildebeest, with their Bushrock Live album, have all been released in Japan on a label called Never Never Land, supposedly taken from the Pink Fairies album of the same name! These discs have obviously been mastered from vinyl, but they are of very good quality and the sleeves have been very professionally reproduced in a unique “mini LP” format, very different to a normal CD.
— Leon Economides
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THE A-CADS
What about the A-Cads, circa 1965? I may be biased (I was the guitar player), but they were considered to be an exceptionally heavy-duty band at the time.
— Richard Laws
Not many people realise that the A-CADS were a SA group. They had a one-hit wonder with “Hungry for Love”. Before that I believe they provided backing vocals to another outfit, whose name escapes me.
— Peter Alston
{Brian “hungry for love” Currin: Dick Laws, the guitarist, backed Tommy Roe on his 1969 SA tour.}
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TOP TEN FAVOURITE SA ROCK SONGS
Here is a list of my favourite SA rock songs, as of this moment! (in alphabetical order):
1. Cape Axe – Jorge Carlos 2. Eclipse – Freedoms Children 3. Goeie Nag Generaal – Piet Botha 4. Making Out With Granny – Falling Mirror 5. Sarajevo – Jack Hammer 6. Sex – Pressure Cookies (featuring Willem Moller) 7. So Cold – Hotline 8. Sugar Man – Just Jinger 9. The Thin Red Line – Julian Laxton 10.Who Killed Kurt Cobain – Koos Kombuis
Subject to change without notice.
Send me your lists and I’ll post them here.
The “rock” genre is wide-open, so don’t get bogged down too much – if you like a song, say so…
My favourite POP song list is of course, very different to this list.
Coming soon: The South African Rock List site – watch this space for details.
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The SA Rock Digest is compiled by Brian “Vagabond” Currin from the “Too Good To Be Forgotten” internet message board and e-mails from various Digest members.
Any suggestions on format or content will be gratefully received, but may be ignored. 8)
Post a message on the “Too Good To Be Forgotten” message board at: insidetheweb.com/mbs.cgi/mb311757
Want up-to-date news, reviews and interviews on South African and international music, with a healthy dose of humour? Visit Sugar’s Amuzine site at: http://www.rock.co.za/amuzine/
Want to unsubscribe from this e-mag? I hope not, but if you really must, then just send me an e-mail, saying “I’m bored” or “get my out of here” or “I’ve had enough” or whatever, I’ll get the idea, eventually.
Searching For Sugar Man is a 2012 documentary film about a South African cultural phenomenon, written and directed by Malik Bendjelloul, which details the efforts in the late 1990s of two Cape Town fans, Stephen “Sugar” Segerman and Craig Bartholomew Strydom, to find out whether the rumoured death of American musician Sixto Rodriguez was true and, if not, to discover what had become of him. Rodriguez’s music, which had never achieved success in the United States, had become very popular in South Africa, although little was known about him in that country. On 10 February 2013, the film won the BAFTA Award for Best Documentary at the 66th British Academy Film Awards in London and two weeks later, it won the Academy Award for Best Documentary Feature at the 85th Academy Awards in Hollywood.
I Never Loved A Man (The Way I Love You) (1977) A cover of John Russell’s “I Never Loved A Woman The Way I Love You” from 1976. It is not the Aretha Franklin song from 1967.
Light Up The Light (1973)
Stand By Your Man (1975) Tammy Wynette cover
Where Is The Love (1975)
Tribal Fence (1977) originally by Freedoms Children in 1970, also recorded by Rabbitt featuring Margaret as guest vocalist
Have You Ever Seen The Rain? (1976) Creedence Clearwater Revival cover
A powerful compilation from the soulful voice of Margaret Singana. Different to the 1973 album with the same title. Margaret has covered a number of classic South African rock tracks, including Freedoms Children’s ‘Tribal Fence’, The Julian Laxton Band’s ‘Johannesburg’ and Hawk’s ‘Orang Outang’.
She is probably most famous for ‘Mama Tembu’s Wedding’ from ‘Ipi ‘N Tombia’ and also the brilliant theme song from the Shaka Zulu TV series, ‘We Are Growing’. This song went to number 1 in The Netherlands in 1989.
Patric van Blerk wrote a few songs for her and also produced most of her albums. Trevor Rabin makes an appearance on some of her songs as well.
There are also some very strong soul songs on this CD including ‘I Never Loved A Man’ (sounds nothing like the Aretha Franklin song with the same title, actually a cover of John Russell’s ‘I Never Loved A Woman’), Jimmy Cliff’s ‘Many Rivers To Cross’ and Tammy Wynette’s ‘Stand Up Like A Man’ (done in a reggae-style).
So if you enjoy strong female vocals with a touch of rock, a bit of Africa and a lot of soul, then ‘Lady Africa’ is for you.
This classic album has been released at least 4 times with different track listings. It was first released in 1972 in South Africa. It was then released in 1973 in Europe with a slightly different track list and credited to Jo’Burg Hawk. In 1998 an unofficial CD was released by the Never Never Land label in Japan with a different cover and track list. In January 2004 Retrofresh released a CD of the European version with bonus tracks.
The album cover was a gatefold with the image actually sideways. It is shown here in the “wrong” position for better effect. Cover painting was by B. Funnêll. The European album release has the same cover, but “Hawk” is replaced with “Jo’Burg Hawk”.
Tracks
Africa (Ornellas) [2.48]
Dark Side Of The Moon (R Mackay) [2.54]
Predictions (Kahn/Ornellas) [5.15]
The Rolling Of The Bones (R Mackay) [2.40]
Elegy For Eden (R Mackay) [2.34]
War Talk (Kahn/Ornellas) [2.39]
My Spear (R Mackay) [2.01]
This Elephant Must Die (R Mackay) [3.00]
The Return (Kahn) [2.41]
White Bird Of Peace (Kahn/Ornellas) [3.28]
Uvuyo (D Ornellas/M Kahn/R Mackay) [3.11] listed as Jabula on inside sleeve
June Dyer was born in Durban on 19 June 1942. She was not deterred by the fact that she was almost totally deaf from the age of 10, and mastered lip reading and getting the music beat by holding the piano or bass. June won several talent competitions and eventually caught the eye of talent scout, Alan Marshall. She passed away 14 January 2011.
“Ain’t Necessarily So / Take Five” not available on Spotify.
Musicians
Ken E Henson: guitar, sitar, vocals
Robbie Pavid: percussion
Brian Gibson: bass, vocals
Sean Bergin: sax, flute
Release information
LP: 1970, Uptight, STIC 101 CD: 2005, Mason Records, MR 56409 (unofficial release, included all tracks from Silver Trees as bonus tracks, except for “All The Same”) CD: 2005, RetroFresh, freshcd146 (omitted “Ain’t Necessarily So / Take Five”, included all tracks from Silver Trees) LP & CD: 2009, Shadoks (Germany), SHADOKS 111
The album ‘Totum’ was recorded in Johannesburg over a single weekend using a 4-track machine. The album was released in early 1970. “According to today’s standards it’s pretty rough,” says Henson, “but I guess it was an honest interpretation of what we were doing.”
In a newspaper review reporter Carl Coleman had this say about the release of Abstract Truth’s debut album: “Sean, Brian, Robbie and Ken have lifted South African pop from the syrupy blare of bubblegum music to new heights of progressive pop. What an achievement!”
The Freak Emporium online store had this brief review of ‘Totum’ on their website: “Excellent early ’70s melodic wistful freak rock blends with African sounds featuring assorted instruments: keyboards, flutes, electric guitars, saxophone, percussion, etc. A refreshing approach.”
Most of ‘Totum’ consists of unusual reworkings of jazz, folk and blues songs. The only band composition is the sitar-drenched ‘Total Totum/Acid Raga’. Donovan, Dylan, Gershwin, Simon and Garfunkel and others all get given the special Abstract Truth treatment that is reminiscent of early King Crimson in places.
Ramases, born Kimberley Barrington Frost (1 January 1934 to 2 December 1976), was a British psychedelic musician who released two cult albums in the early 1970s.
In the 18 months I worked at EMI South Africa the group I believed the most in was Freedom’s Children——this is with the line up of Julian Laxton, Colin Pratley, Ramsay Mackay and Brian Davidson. In fact I believed so much in them that I came close to leaving EMI to manage the group full time with a view to trying to get them to London to “make it” on the world stage, so to speak. In those days, however, there were all sorts of obstacles with work permits, UK Musicians Union, SA Exchange Control, etc, not to mention the fact that I was only 23, had no capital and had virtually no contacts anywhere outside of SA……..so nothing came of this particular “dream” and sadly the limitations of their having to try and evolve creatively within the narrow confines of the SA music scene at that time, coupled with personal differences some of the members were having, ultimately led to the disintegration of what in my opinion was then and probably still is today (30 years later) the only SA rock group that given the right circumstances in the right geographical location, could have become an internationally successful rock band just by being themselves and doing what they did.
Some Beatles-esque silliness to bring in the New Year!
If ever there was a South African band that should have been global superstars, it’s these boys! Sadly, it was not to be!! Brilliant take on the traditional tune, rearranged by Trevor. Check out the insane short guitar solo!
LP: 1970, Parlophone, PCSJ(D) 12066 8 Track: 1971 Parlophone X8-PCSJ-12066 LP: 1990, PVB Music, PVBC 7 Cassette: 1990, PVB Music, ZPVC 7 CD: 1993, TRC 029 unofficial German CD re-issue CD: 1997, 3eM, CDRED 619 official CD release, distributed by Gallo CD: April 2005, RetroFresh, freshcd 145 official CD release
The Kid He Came From Hazareth was covered by Wildebeest and released on the Bushrock 1 album as ‘Russian And Chips’ (cleverly combined with a traditional Russian folk song). Piet Botha (Wildebeest bassist in the early ’80s) performed this song as an unplugged version on his Summer 2001 tour.
‘Russian and Chips‘ was covered by Jack Hammer (featuring Piet Botha) and released in April 2005 on the album The Pilgrim.
Tribal Fence was covered by Rabbitt (featuring Margaret Singana) on their A Croak And A Grunt In The Night album. Margaret Singana herself also recorded a very powerful version of ‘Tribal Fence’ which was released on the Lady Africa compilation CD. ‘Tribal Fence’ was also recorded live by Wildebeest (featuring Piet Botha) and released on the Bushrock 1 album in 1981. In April 2005 ‘Tribal Fence’ was covered by Jack Hammer (again featuring Piet Botha) and released on The Pilgrim.
Slowly Towards The North was covered (and extended) by Hawk on their Live And Well LP in 1974. This track was also recorded live by Wildebeest and renamed ‘Pofadder’ when released on the Bushrock 1 album.
The Homecoming: An edited version (2:50) was released as a single in 1971.
A 16-minute live version of ‘The Homecoming’ (including a drum solo) was released on Galactic Vibes.
This album has all the wonderful excesses of early progressive rock; the deep “meaningful” poetry, spoken words, majestic organ-playing, sound effects, choirs, long guitar solos, etc. I love it!
The unusual Scottish/South African accent of Ramsay MacKay guides us through this album of contrasts. From the country sounds of “Country Boy” to the Traffic-style rock of “Judas Queen” this album does not let up for a moment. It rocks, it soothes, it challenges, it even refreshes (thanks to the inclusion of a Pepsi advert!). A great album, which has seen the light of day on CD (at last!), thanks to Fresh Music.
Brian Davidson says that he sang a bit on this album, but this is unconfirmed.
Stevie van Kerken was Robert John “Mutt” Lange’s first wife.
You’re So Good To Me… I’m not supposed to be alone with you…” sings the 21 year-old P.J. Powers (born Penelope Jane Dunlop in Durban in 1960). Is he married? Or is she? Possibly a same-sex liaison, or more likely the lyrics refer to an inter-racial relationship which was illegal under the Apartheid system of the time. A powerful song which never fails to stir the emotions.
Brian Currin
‘You’re So Good To Me’ was a South African #8 hit in February 1982, backed by ‘So Cold’. ‘So Cold’ is one of my all-time great magic moments in South African Rock – stunning vocals, driving bass-line… this track rocks, man!
The title track for ‘Burnout’ actually only appeared on their second album ‘Help’ in 1982.
Sugar Music 