New albums from South Africa

The Best of Mahlathini and the Mahotella Queens
Dolphin through BMG

Rhythm of Healing
West Nkosi
Earthworks/Virgin through Larrikin Records

Favourites
Ladysmith Black Mambazo
Dolphin through BMG
Reviewed by Norm Dixon

The growth in the popularity in Australia of South Africa's pop music — mbaqanga — was obvious during the very successful tour earlier this year by Mahlathini and the Mahotella Queens. Following rave reviews after headlining Adelaide's WOMAD festival in February, they played to packed audiences at concert, club and uni dates for another month.

Mbaqanga, an urban dance music rooted in traditional rhythms, allows South African workers to temporarily put aside their formidable worries. That it can play the same role anywhere was proven at the Queens' show at Wollongong Uni. A huge throng of sweating, drinking, dancing students went completely loopy under the spell of the compulsive beat and harmonies of these energetic performers.

The release of The Best of Mahlathini and the Mahotella Queens will be especially welcomed by those wanting to relive those tremendous shows. All the tracks will be familiar to MMQ's fans: "I'm in Love with a Rastaman", "Jive Motella" and "Mbaqanga" among them. Many of the tracks are re-recordings of some of their greatest hits since they formed in 1964.

The CD is alive with Simon "Mahlathini" Nkabinde's trademark gruff vocals and Hilda Tloubatla, Mildred Mangxola and Nobesuthu Mbadu's exuberant and compelling harmonies. The Makgona Tsohle Band ("the band that knows everything") provides the throbbing bass which pumps the energy through the enticing melodies provided by sparkling guitar leads.

Don't let the cover artwork of the album mislead you: this band is clearly a matriarchy! Anyone who has seen these great performers live will tell you that the three Queens are firmly in charge on stage while they

playfully mock Mahlathini's grouchy macho antics.

West Nkosi is a giant of the South African music industry and a controversial figure. One of the originators of mbaqanga on the penny whistle and saxophone in the late '50s, he was a member of the Makgona Tsohle Band, which backed Mahlathini and Mahotella Queens from their formation. He was also a solo sax and penny whistle star. In the '70s he became a record producer with the giant Gallo record company.

This move is the source of much of the controversy that seems to surround Nkosi. There have been charges that he has exploited fellow musicians on behalf of Gallo. It was common practice until very recently for black musicians to be paid per session, and subsequent royalties flowed to the producer and record company. There have also been accusations that he has made inflated claims about his role in reviving the fortunes of Mahlathini and the Mahotella Queens in the mid-'80s.

Whatever the truth, it's certain that West Nkosi — backed by the Thelani African Jazz Band — is a wizard on the saxophone and penny whistle. Rhythm of Healing is Nkosi's first return to the recording studio as a musician in many years. The album provides a wonderful example of the best of contemporary instrumental township jive. From the moment this CD begins, the urge to bounce about is hard to resist.

As producer, Nkosi was instrumental in bringing the marvellous Ladysmith Black Mambazo to the top of South African music in the '70s. They came to world attention via Paul Simon and his Graceland album. Favourites showcases their beautiful a cappella Zulu choral music. Each track is full of soulful glides, sweet tones and harmonies, and magical polyrhythms which hypnotise the listener.

A most frustrating feature of both the BMG releases is the virtual absence of any liner notes. The song titles are not even translated into English, let alone full lyrics being provided. Nor is there is any attempt to list the names of the performers and the instruments they play. While the Mahotella Queens' album does contain an interesting history of the band, Favourites does not even provide that.

BMG should take a good look at the detailed and informative notes that Earthworks/Virgin has compiled to accompany West Nkosi's album and follow that example with future world music releases.