Documeting social history
New book on Mbaqanga group Soul Brothers gives an insider’s view, writes Sam Mathe
SOUTH Africa is at the stage where those who contributed to its social and cultural history but were not allowed the opportunity to author it are taking an interest in these kinds of narratives.
And theirs is not just a passive or academic interest. They want to own their stories by documenting them. Biographies on artists and, indeed, the history of South African music remain virgin territory despite efforts over the years by academics to publish a number of books on the subject.
What has been lacking in this scholarship were insiders’ perspectives. It is against this background that this book should be understood. It is a pioneering venture by a young black historian of African music whose township upbringing and world view were to a great extent informed by the subject matter. His father was a conscientious collector of the Soul Brothers’ records and indeed a great fan whose appreciation for their music left a lasting impression on the future author, researcher and academic.
The Soul Brothers occupy a special place in South African music. They were already at the apex of their illustrious careers as undisputed masters of mbaqanga soul when Sydney Maluleke was born in 1990 in Giyani, Limpopo. The fact that this book was written by someone so young illustrates the power and impact of music that transcends generations and ethnic affiliations. In 1990 they had already been international chart busters and peerless, hypnotic stage performers for 15 years, having engraved their names in gold letters on the history of South African music with their debut single, Mshoza Wami, in 1976.
Their extraordinary success spawned a host of pretenders who eventually exited the stage for the real deal. And 43 years later, the Soul Brothers are still going strong. More significantly, they haven’t lost the magic that won them myriads of fans from across the world.
The book traces the Brothers’ humble beginnings from Hammersdale and Edendale in KwaZulu-Natal. Their road to national recognition and eventual global renown begins when an unknown band named The Young Brothers – whose members included lead singer and drummer David Masondo, guitarist Tuza Mthethwa, saxophonist Mpompi Sosibo and bassist Zenzele “Zakes” Mchunu – leaves KwaZulu-Natal in 1974 and heads to the City of Gold in search of a recording deal and fame. In Johannesburg they were joined by a young Soweto keyboardist, Moses Ngwenya, who, at 16, was the baby of the band.
Black Moses, as he is popularly known, is the sole survivor of the group from the original line-up following the death of lead singer and main composer, David Masondo, on July 6, 2015. The last-born in a family of 10, Ngwenya started playing a harmonica in a family band named The Crocodiles and later graduated to playing a Hammond organ. He then established a successful solo career as Black Moses and has since released over 10 solo albums under his own label, Black Moses Productions. His virtuosity on the ivories has earned him the title king of African funk and he has been performing professionally for 45 years.
The story is told primarily through the recollections of Black Moses, who is undoubtedly a living archive on the subject matter. However, the author has taken pains to interview friends and families of the deceased musicians. The extent of these interviews as well as newspaper and magazine articles included reflects the wide scope of this groundbreaking work. The book also chronicles the highlights of their remarkable achievements in the industry as perennial award winners and multi-platinum trendsetters who conquered global stages and pop charts with their unique brand of soul-inflected mbaqanga.
It captures the darkest hours in their careers – personal tragedies brought about by car accidents, assassinations and natural deaths. Their series of tragedies started on January 8, 1979 when original leader Tuza Mthethwa, 21, and main composer Mpompi Sosibo, 31, died in a car crash in Villiers, Free State, on their way to Johannesburg.
The book carries an impressive catalogue of colourful images of individual artists, managers, awards and gold discs that betray the author’s lifelong devotion to the Soul Brothers.
Thobela FM presenter and DJ, Thamagana Maxwell Mojapelo’s authoritative foreword sets the tone of the narrative, but it is evident that his contribution doesn’t end here. Without taking anything away from the author, Mojapelo’s guiding hand is apparent throughout the book. Through the lives of the group’s individual artists, managers and various associates, their stories come together to reflect a history of mbaqanga music from the 1970s to contemporary times.
Elementary spelling errors of common terms and place names spoil an otherwise well executed text. First-time self-publishing authors need to understand that editing and proofreading of text are not options. A discography, list of awards and index at the end of the book would have added academic substance to this essential reading but this can be considered in the forthcoming editions.
Don Laka, Moses Ngwenya and the Soul Brothers are jointly preparing a nationwide tour in commemoration of their 45 years in the industry. The tour starts at the Soweto Theatre on April 7.