The Music of South Africa in the 1970s: Mgqashiyo and Isicathamiya

During in the 70s, the only few long-standing mgqashiyo orchestras were popular, with the only current orchestras finding achievement with an all-male line-up. Boyoyo Boys and Abafana Baseqhudeni were possibly the biggest modern artists of that era. The member of the Mahotella Queens’ started leaving the line-up around the year 1971 for competing groups. Gallo, which is the biggest record company in South African, started to establish a current Mahotella Queens line-up, recording along with Abafana Baseqhudeni. Mahlathini who is the lead groaner had already transferred to the rival label known as EMI (in the early 1972), where he had popular records with backing group Ndlondlo Bashise and the current female orchestra known as Mahlathini Girls. The current Mahotella Queens features over at Gallo create just as much achievement as the initial Queens, recording on-and-off with the current male groaners such as Robert Mbazo Mkhize of Abafama Baseqhudeni.

source of picture: www.folkworld.de

Ladysmith Black Mambazo, which was led by the sweet soprano of Joseph Shabalala, emerged in the 1960s, and it became possibly the biggest isicathamiya artists in South African’s record. Their first album was during the 1973s Amabutho, which was also known as the first gold record by black artists; and it sold over 25,000 copies. Ladysmith Black Mambazo continued renowned all over the next few years, particularly after the year 1986, when Paul Graceland album and its succeeding trip of the year1987.

The progressive jazz obstructed by governmental suppression, marabi-pattern dance ensembles emerged to more serious fame in the jazz world. The music became more difficult and retained fame, while progressive jazz produced only seasonal hits, such as Winston Ngozi’s Yakal Nkomo and Abdullah Ibrahim’s Mannenburg.