Angola Soundtrack 2 – Hypnosis, Distorsions & Other Sonic Innovations 1969-1978

from Analogue Africa Records

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Jaak

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Nakirfa

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soulsafari.wordpress.com/2011/01/30/noise-khanyile-jive-violinist-w-joburg-city-stars-amagugu-akwazulu/This album demonstrates the late Noise Khanyile’s range of both traditional and jive music. In 1960 he began to play shebeens, and he also learned how to play the violin. His violin playing was influenced by Mareza, probably the most famous jive violist of the early 60’s.In 1964 Noise was still playing acoustically. He did not begin to play in a band which used drums until 1969. He went to Trutone Records, made a record, switched to EMI’s Umsakazo label but although the worked hard at several sessions, the result in being paid was a session fee of about 8 rand ( UKP 2.00) a side.Noise Khanyile -Dlamini
In 1972 he recorded with the Boyoyo Boys, a big jive band at the time. He worked with the legendary producer West Nkosi on sessions like ‘2 Mabone’ which went gold twice for the FGB label. These ‘Mabone’ records were a bit of a craze among jive musicians. Mabone means headlight and the number describes the number of headlights on a car. There were loads of Mabone titles ‘3 Mabone’, ‘4 Mabone’ etc.But jive music had not made much progress since it originated and consequently the newer sounding disco took over as a popular form in the mid-70’s. Jive as a music form was put into the shade by disco for some time, but Noise remained optimistic about its survival. Noise has never made disco records, he went back to the traditional music and also marabi, an early jive guitar picking style, where the instrumentation is guitar picking and rhythm guitar, plus occasional addition of saxophone, but no drums or bass guitar.
Noise Khanyile -Via Scotch Land
In 1989 Noise had recorded with Mahlatini, the renowned groaner, and he made a special appearance as member of the Jo’burg City Stars’ that same year.
Noise Khanyile -The Art Of Noise with the Jo’burg City Stars & Amagugu Akwazulu

Shifty Records
Globestyle ORB 045
text from the liner notes by Carol Fawcett

released 31 May 1989

bout

Ironically, the first full Shifty project was not a punk or new wave band at all, but Sankomota , recorded in Lesotho in late 1983. I had heard them whilst working on a documentary in Lesotho earlier that year. At that stage the band was a three piece, but they had previously toured South Africa with a larger outfit under the name Uhuru. Because of their lyric content, their name and the provocative onstage outbursts of a band member who went by the name of Black Jesus, Sankomoto were thrown out of the country.They were now in a pretty dire situation for a band wanting to record. There were no studios in Lesotho, which was and is the only country in the world completely surrounded by another country – in this case South Africa, where they were forbidden entry. They were of course too broke to fly elsewhere. This is when I discovered the benefits of owning a mobile studio. I parked the caravan outside the recently deserted studios of Radio Lesotho, ran a cable inside to one of the rooms and we were in business.Frank LeepaRecording Sankomota taught me a lot about producing music and working with artists, but I also learned painful lessons about the recording industry in South Africa at large. We had made what was patently a good album; it’s subsequent track record and critical acclaim confirms that. But no record company was willing to release it. The music did not conveniently fit into any of the industry’s pigeonholes, and no one could see past that. This bias against original, or edgy music was reinforced by the broadcast media with their safe and restrictive play lists. Sankomota failed a number of tests in this regard. Firstly, they sang in different languages, which violated grand apartheid’s pipedream of keeping all languages pure and separate. Secondly, the lyrics referred to what was really happening in the country, which was of course a total no-no. And finally, the music was eclectic, a concept that has confused industry marketing departments since the invention of the gramophone.
These experiences were to repeat themselves with almost every record that I produced over the next decade. But I was young and naïve at the time, so I decided to set up my own record company and do what nobody else was willing to do. Thus Shifty Records was born.
Lloyd Ross : Shifty Records ,Johannesburg -2010

credits

released 11 November 1983
Frank Moki Leepa – Guitar
Moss Nkofo- Drums
Maruti Selate-Bass& sessions by:
Sunshine Moena – Keyboards
Sponky Tshabala – percussion
William Ramsey – tenor sax
Rick Van Heerden – alto sax
Stompie Monana – trumpet ,flugel horm
Warrick Sony trombone & percussion
Lloyd Ross – producer ,additional guitar,keyboard, etcphotos by Lloyd Ross
cover by Caroline Cullinan
Shifty Record: Shift1Maruti, Moss and Frank outside the Uhuru Cub in Maseru 1983