This year, one of the world’s most admired and respected musicians – Sipho ‘Hotstix’ Mabuse – celebrates his 50 year anniversary in the music industry.
Highlights for Mabuse in 2016 include shows in Botswana and Swaziland and performances with the likes of Johnny Clegg. “I was even celebrated as the keynote speaker at Music Exchange #MEX16,” he recalls. “I also performed at the annual music indaba, Moshito, as well as part of Joy of Jazz and Metro FM, all while inviting a request to be the guest of honour at More Jazz, series six, in Maputo. Media support has been amazing. Thank you,” Mabuse adds. “Particular thanks must go to Kaya FM, who gave me a whole day to celebrate the work we are doing and we even got the hashtag #Hotstix to trend.”
“It’s hard to believe it’s been 32 years since I released Burn Out. I am humbled by all the love and support. Thank you, all.”
As for 2017, Mabuse says, “I have started on my book. It will be a memoir of my life, and it will be out in September next year. There will also be a national tour. I’m not about to stop walking on my road. I’m a voice in a space that speaks truth to power.”
Burnout is more than just a song by Sipho ‘Hotstix’ Mabuse. It is a singular signifier of what it meant to be South African in the 80s. The slow-building, passionate delivery and the unforgettable keyboard riff resonated with pretty much everyone who heard it.
Kids in the township reclaimed it, throwing their own nonsensical lyrics to its keyboard melody and passing them down to the next emerging set of latch key kids. It was urban folklore long before it was legendary.
In the song, its author pines for a love lost, but there is a nagging subtext; he is singing about a country he’s about to set on fire. In real terms, though, it was simply love in the time of revolution.
Although Hotstix had already recorded a solo album after the dissolution of Harari, a successful band he founded with his high school mates, it was Burnout that properly announced his arrival as a solo act.
“While many groups would play mbaqanga then, we wanted to play what we called Afro-rock. We became the first black group to appear on national television, which was only for whites. We were defiant of the system because of the black consciousness influence,” says Hotstix of his former band. “Groups like Dashiki, Malombo … these were groups that were very politically inclined. So we belonged in that era.”
As Hotstix explains, the band Harari went through various stages conceptually. “[We were] the first group that went to Zimbabwe, which was influenced by a very strong period of black consciousness. Then we had Selby [Ntuli], myself, Oom Alec [Khaoli] and Monty [Ndimande]. After we came from Harare, we changed from The Beaters to Harari. Then Selby died. We had to regroup and introduce the concept of pure Afro-rock with ‘Funky’ Masike Mohapi, Alec and I, and Charles [Ndlovu] and Thelma [Segonah]. Commercially, that was the more successful group. After that, Masike left the group and Condry Ziqubu joined, and there was a continuous changing of concepts as and when people came into the group at that particular time. Obviously, understanding what the concept would be was quite a challenge to a number of people who came in.”
In 1982, things were looking promising for the group, having signed a deal with Herb Alpert’s A&M Records. “I guess you reach a stage where one’s success becomes overwhelming. Once we were invited to the US to go and perform at the invitation of the record company, some of the members decided they weren’t going. That was the most heartbreaking period for me − because here we were on the brink of international success − especially with Masike, because he was the lead singer of the band and he decided he was not going to go overseas. And when we got there, there were all these acrimonious relationships. So when we came back, there was this split.
“Two people stayed behind. I guess at that period we saw success differently. In our eagerness to achieve success, with hindsight, maybe I became dictatorial in my leadership style. I felt strongly that we should be a clean-living group − no alcohol. I used to be physically fit and I used to work out and do all sorts of things, but my colleagues were different and we’d always fight about these things. They felt that I was too controlling in my leadership style, to such [an extent] that they felt they didn’t want to go overseas to support my cause, as they put it. When we got to the States, even the two founding members, Oom Alec and I, were not on good terms because of my style of leadership. He said to me, ‘Listen, I no longer want to be part of this group.’”
Hotstix remembers that time as the most depressing period of his career − like realising a marriage you had tried to make work was doomed.
“You become angry at yourself and bitter towards the people you feel have let you down,” he says. “For about a year or two I was at sea, lost as to what to do. Johnny [Clegg] called me, because their drummer had just left, and asked me whether I wanted to play drums for Juluka. For me it was a very difficult period to make a decision on that because I had been a band leader. Selby had been the leader and I became the leader after he died, so I couldn’t see myself going to join another band. I decided to go to the studio and start working on a few things.
“The first album I recorded was called Set Me Free, which, frankly, I attributed to Harari, and it became successful. I guess in a way I was still attached. There was still that sentimental attachment to the group because of the success. Then I realised I was alone, because all the other members of the band had gone solo, doing things individually. I was a drummer, so it was going to be difficult to become a frontman. Then I realised that many of the frontmen had been drummers. I got my solace from that consideration and I went on to record other albums – Burnout, Rise…”
Hotstix says he recorded Set Me Free on his own. He hadn’t even picked up the saxophone at that stage, but he was an adept drummer, pianist and flautist. “I didn’t consider myself an exceptional pianist; I could get by, just to enable me to compose things. As a drummer it would have been difficult to compose, especially as I wasn’t good in notation.”
Set Me Free, a four-track EP, sold about 200 000 copies at the time. “It was almost like I was making statements, because I went on to record Rise, which became another big seller, moving 150 000 units. Then one day while preparing to record an album, we got into the studio around 12 midnight. I was travelling with a pianist, but I decided to play piano while the sound engineer was doing something. For some reason I was feeling this riff in my head. I started playing it. I was looking at the pianist and he was really bobbing, you know. And I felt the same way. I said to the recording engineer, ‘Listen, can we put this thing down before I forget it?’ We stopped everything we were doing. We put this track down and I started writing things. Lyrically, what you’re hearing. It literally took me 10, 15 minutes, and the whole track was done. The whole song was recorded in 20 minutes.”
Hotstix says he was capturing a happy mood, but at the same time his mind was reflecting on past relationships. Did he know he had made something magical when he laid it down?
“There’s hardly any musician who will tell you they’ve captured the magic. When you’re a creative person, it’s always hit and miss. If you’re an honest writer, you don’t write because you want to write hits, because there’s no formula. But there’s that moment of creativity that just happens. That’s why as a writer there’s what you call writer’s block, but once you capture that moment of writing things, you find things happening. If you find all the hit songs written by people, they have never been able to repeat that magic, because it happens at a particular time. I mean,Thriller was probably [Michael Jackson’s] most successful album, but however much Michael tried to sustain and retain the formula, it just did not happen the same way. The Beatles were songwriters of note, but there are certain songs they wrote that you still think are better than the others. A lot of people will point to certain songs and say these are the hits. There’s absolutely no formula, whatsoever.”
Check out this video of The Con’s interview with Hotstix by Tseliso Monaheng
Main Pic by Tseliso Monaheng
TIMELESSNESS 50 years on
On Wednesday evening, 1 October, for one-night-only, one of South Africa’s, and indeed the world’s, most admired and respected musicians – Sipho “Hotstix” Mabuse – is set to perform at The Lyric Theatre, Johannesburg, in a special, single performance, affair.
Titled Timelessness, a name coined by Mabuse, the show will tip its hat to the masters, taking fans on musical journey filled with extraordinary, one-of-a-kind, performances.
2014 is a momentous year in Mabuse’s 50-year career immersion in music. Not only is it his golden anniversary of his unwavering commitment and contribution to South African music, it is 30 years ago his now 500 000 copy-selling single “Burn Out” changed the face of shape of Afro-pop and township jive like no other song or artist in pop music history.
From his first group, Harari, through to his stellar solo career that spans the better part of his adult life, Mabuse’s Lyric Theatre reveal is going to be jam-packed with so many hits and memories, beyond “Burn Out”, that “we might not be able to fit it in,” he jokes.
Beyond competent and hugely applauded, the magic this musician makes is practically impossible to pigeonhole. Drummer, flautist, alto flautist, pianist, saxophonist, kalimba player, timbale and African drummer, Mabuse’s raw ability and talent know no limit!
His name became synonymous with township jive nearly three decades ago, and today his live performances still present the master’s art as the stuff of legend.
As the musical ambassador for South Africa, performing in virtually every country in Africa and touring the US, England, France, Germany and Italy, amongst many more, Mabuse’s recorded and produced the likes of Miriam Makeba, Hugh Masekela, Ray Phiri and Sibongile Khumalo.
Head out to The Lyric Theatre, at Gold Reef City, and come celebrate the multiple anniversaries with his friends, peers and contemporaries. Expect tributes, tears and Timelessness aplenty as Sipho”Hotstix” Mabuse unpacks, retells and delights the night with songs that remain as perpetual as the master maker himself.
Tickets are available from Computicket.co.za or call: 0861 915 8000 or click on link below
For more information contact:
Triple M Entertainment
Mobile: +27 83 448 4475
Cape Town’s annual music extravaganza Music Alla Kaap is back for its third year running at the GrandWest Arena in Cape Town for one night only on Saturday 27 September 2014 at 8pm.
Following 5 sold out shows in two years’, this has become a must-see event on Cape Town’s social calendar.
Music Alla Kaap will be celebrating South Africa’s music icons and the best of the mother city’s artists and entertainers coming together to perform on one stage.
The star-studded line-up will be hosted by veteran stage, film and television star Shaleen Surtie-Richards for a second consecutive year.
She was recently seen in Lara Foot’s adaptation of the stage production Scrooge and was the master of ceremonies at the 10th Cape Town Comedy Festival.
The show is a celebration of great music featuring performances by Sipho “Hotstix” Mabuse, Alvon Collison, Nur Abrahams, Karin Kortje, Sophia Foster, Salome
The show includes a 6-piece band headed up by one of Cape Town’s top music director’s Trevino Isaacs, Don-veno Prins on saxophone, Ryan Kierman – trombone, Lorenzo Blignaught – trumpet, Jason de Laney on guitar and Melvin Williams on bass.
Music Alla Kaap is produced and conceptualized by Alistair Izobell who will also be performing on stage with the rest of the stars, together with a few other surprising artists on the night.
For Sipho this September marks the 30th anniversary of the icon’s hit-makers song “Burn out”, where 500 000 copies of this selling-single changed the face and shape of Afro-pop and township jive like no other song or artist in SA pop music history.
Mabuse is a 2005 SAMA Lifetime Achievement Award Winner, Chairman of the non-profit organisation Music Exchange and a 46664 Ambassador having performed at both London’s Hyde Park in 2008 and New York’s Radio City Music Hall in 2009.
The line-up of acts to join Mabuse includes Cape Town’s ‘Mr Showbiz’, Alvon Collison who’s been entertaining audiences for more than 35 years. This all-round entertainer has appeared in a variety of shows over the years, and has made several TV appearances on entertainment programmes throughout his career.
Sophia Foster forms part of the incredible line-up as well. Her unique talent has transcended all boundaries of music and secured her place as one of the country’s top divas of song. Today, she is one of South Africa’s pioneers and much loved ‘sisters of song’.
Foster has performed internationally and to local audiences over the past four decades. Having starred in various musical extravaganzas, it’s her one woman shows that have earned Foster her greatest acclaim. She’s been compared to those of Billy Holiday, Lena Horn and Shirley Bassey, and is been celebrated for her unique and sophisticated style.
Local Cape Town singer Karin Kortje joins the ensemble of entertainers with her sultry and powerful singing voice. Suave vocalist Nur Abrahams brings his musical charm to the show. This seasoned artist has appeared in a number of productions. His performed to local and international audiences as is well-known for his performances in David Kramer’s award-winning musicals and was a former member of the popular band JAG.
Singing sensation Salome Damon Johansen is no stranger to Cape Town audiences. She’s travelled and performed in various cities with Madame Zingara, and formed part of the Diva Tour featuring SA’s top female singers in Cape Town.
Tickets range from R120 – R180 and booking is through Computicket on 0861 915 8000, online at www.computicket.co.za or at any Shoprite Checkers outlet.
Niki Seberini talks to award winning SA musicians – Johnny Clegg, Sipho Hotstix Mabuse, Claire Johnson & Ard Matthews who pay tribute to the late Bongani Masuku. Producer CT Lee
Conversations with Niki Show Objective and Vision: Creating a “Force For Good”!Niki interviews extraordinary people from celebrities, authors, motivational speakers, industry experts to the man on the street. It’s all about stories!The show is partner syndicated to nine additional radio stations across South Africa, allowing the show to run on repeat for a full week thereafter across the country, along with all the show repeat and podcast relevant broadcast and social networking PR & Media coverage, reaching a weekly audience starting point of between 266 000 – 280 000 listeners around South Africa.
South African artists came together to remember musician Bongani Masuku at a benefit concert for his family on 2 July 2014 at Joburg Theatre.
[Pictures: Valentina Nicol/The Citizen Newspaper]
The music fraternity learnt the shocking news of Masuku’s untimely death on the evening of 17 May 2014.
He was tragically shot and killed in Troyville.
Masuku was a long standing band member of Johnny Clegg and he left behind his wife, Linah Masuku, and their four children.
The benefit concert on 2 July 2014 at The Mandela at Joburg Theatre,raised funds for the family and raise awareness for Artists against Violence.
South Africa has lost many high profile musicians to crime including, Lucky Dube, Mafikizolo band singer Tebogo Benedict Madingoane and Gito Baloi due to violence in South Africa.
The line up for the benefit concert included top musicians:
Claire Johnston from Mango Groove
Johnny Clegg and band
Ross Learmonth from Prime Circle
Sipho Hotstix Mabuse
Yvonne Chaka Chaka
Musical Director for this benefit concert was Andy Innes, who is Musical Director, guitarist and vocalist for the Johnny Clegg band and has been for over twenty years.
The show is produced by Real Management.