ZTZ 4 // THE BROADWAY QUINTET - Amalume (1976)

Sharp-Flat Records presents the long-awaited restoration of The Broadway Quintet's cult classic Amalume (Lekani Mowa) – a hypnotic concoction of traditional Zambian sounds and jazz-rock grooves with a twist of 1970s African psychedelia.

Emerging to serve the entertainment needs of Zambia's United National Independence Party (UNIP) in the early 1960s, The Broadway Quintet gathered seasoned talent from Lusaka's best hotel bands to fashion its esteemed lineup. Starting as a quartet and later evolving into a quintet, the group's career spanned over twenty years as favourites on the cabaret circuit and boasted a myriad of prestigious collaborations.

The Broadway Quintet's jazz sensibilities set them apart from the rock sound that dominated the music landscape of the 1970s. Yet the formula behind Zamrock, fusing indigenous Zambian sounds with Western pop, shaped their one and only 1976 long-player. Featuring modern arrangements of traditional songs, Amalume blended congas with sax sounds, folk lyrics with electric keyboard shenanigans and show business staples with jazz guitar noodling. With its psychedelic fever dream illustrated cover*, it was an explosive package of "originality and electrifying beauty" as the album's liner notes rightly attested.

Released on the Zambezi label, Amalume joined an exceptional run of mid-1970s offerings alongside WITCH, Ricky Banda and Crossbones. Officially licensed, carefully restored and beautifully reproduced, Zambia's most requested reissue has finally returned for everybody to enjoy.

* Trevor Ford's harrowing artwork references the album's didactic title track with its warning against the perils of drinking alcohol.

Tony Maonde – Keyboards

Zacks Gwaze – Lead Guitar, Vocals

Simanga Tutani – Bass Guitar, Sax, Vocals

Timothy Sikova – Drums, Percussion, Vocals

Jonah Marumahoko – Congas, Rhythm Guitar, Vocals

Peter Bwalya – Trumpet on "Matteo" and "Nifyo Fine"

Produced and Arranged by The Broadway Quintet for Teal Record Company

Recorded at d.B Studios, Lusaka in 1976

Engineers: Graham Skinner, Nikki Ashley and Peter Musungilo

Cover Design by Trevor Ford and Gibson Tembo

Pictures by B. Nkunika

Audio Restoration & Remastering by Colin Young at See Why Audio

Restoration copy sourced courtesy Sudeep Menon

Artwork Restoration by Ash Pederick

Produced for Reissue by Calum MacNaughton

Original Cat. No. ZTZ 4

Reissue Cat. No. SF14

℗ 1976 © 2023 Sharp-Flat Records

DIGITAL ALBUM

Original Liner Notes:

They hail from such old-time groups as The Rhokana Melodies, The Crooners, De Black Evening Follies and The City Quads. It was the UNIP National Band of 1962 that brought the boys together. And they’re still together 14 years later!

Tony Maonde, Zacks Gwaze, Timothy Sikova, Jonah Marumahoko, Simanga Tutani – individually, musicians of rare talent; together, The Broadway Quintet, polished night-club performers of Lusaka’s Hotel Intercontinental.

But, beneath their public image there runs, like the mighty Zambezi, a creative force that explodes with originality and electrifying beauty.

From vocal compositions like “Mr. Music” and “Change Your Mind” through the more traditional “Jiye Manguwe” and title-track “Amalume”, The Broadway Quintet move into instrumentals of the brilliance and vitality of “Matteo” and “Nifyo Fine”.

To The Broadway Quintet we say, “Thanks for a fantastic LP”.

The Story of // RICKY BANDA - Niwanji Walwa Amwishyo

One of the most esteemed and sought after bassists of the Zamrock era, Ricky Banda was involved in a broad array of collaborations and associations over the course of the 1970s. He started his career in a band called the Vendors with childhood friend Rikki Ililonga and both went on to support He-She Mambo (who later rose to fame as a Zambian soul, funk and disco figure). Alongside Keith Mlevhu in a band called The End, Banda toured the Democratic Republic of Congo and allegedly caught the attention of rumba legend Tabu Ley Rochereau. Banda also backed Teddy Khuluzwu of Dr. Footswitch fame and is prominently featured on the 1975 album Liquid Iron.

Providing almost half of the songwriting duties on the album, Liquid Iron was a pathway to Ricky Banda's first solo release entitled Niwanji Walwa Amwishyo in 1976. With both Rikki Ililonga and Keith Mlevhu inaugurating Zamrock's rise of the solo artist, Banda got in on the action with a sturdy offering of his own. Emulating his contemporaries, he performed all of the instruments on the album with the exception of the drums, for which he enlisted a handful of session musicians including Peter Lungu of Born Free. The result is a laid-back and well-balanced singer-songwriter outing that had the honour of following WITCH’s acclaimed Lazy Bones!! as the second release on Teal's Zambezi imprint. Like Amanaz, the album cover photo juxtaposes the modern and the traditional with Banda in hip garb waving a ceremonial African fly swatter in one hand while raising the other in a peace symbol.

The album opener is the standout track and a unique piece of songwriting in the Zamrock canon. Foreshadowing the eery perspective of "Every Breath You Take" by the Police, "Who’s That Guy?" casts Banda as a creepy voyeur obsessing over a wealthy man courting the woman of his affections. Responding to President Kaunda's call for Zambian music to explore nation-building themes, the album’s title track criticises alcoholism and its effect on families and community. Ricky Banda went on to record a second album for Teal, using a backing band this time and turning his moral radar to the vice of gambling. Decades later, Ricky's brother Rupiah Banda would serve as the President of the Republic of Zambia from 2008 and 2011.

The Story of // CROSSBONES - Wise Man

In addition to just a handful of non-album singles, Wise Man is the sole recorded output from Crossbones and covers a spectrum from rock fury to psychedelic dirge while touching on local rhythms and even offering pair of female vocal ballads. The band was the brainchild of vocalist and drummer Nicki Mwanza, who co-founded the original lineup of Born Free in the early 1970s after launching his career in a group called Afro-Dynamite. Born Free, however, would evolve into the Mike Nyoni outfit that recorded the Zambia Music Parlour release Mukaziwa Chingoni in 1975. Mwanza started the band Crosstown Traffic after Born Free and later merged the two names to come up with Cross-Borns, hence Crossbones. The album was recorded at Lusaka’s dB Studios in 1976 and was the third release on the Teal imprint Zambezi following Ricky Banda’s Niwanji Walwa Amwishyo.

The lineup on Wise Man saw Mwanza taking vocal and percussion duties flanked by searing hot guitarists George Mlauzi and Henry “Mad Doc” Nkatha with Joe Tembo on bass, Richard Shachobe on drums and Sebby Nyirongo on organ. The band’s secret weapon was female vocalist Violet Kafula, who contributed two compositions and lead vocal performances to the album. Working as an office clerk in Lusaka in the early-70s, Kafula befriended Born Free as a fan and later convinced Mwanza that she could sing. With the encouragement and foresight of dB’s female engineer Nikki Ashley, Kafula’s duet “Mwebalume Bandi” was released to promote the forthcoming Wiseman album and became a hit single that reportedly sold 14000 copies. Her famous lament of lost love paved the way for Kafula’s solo career as a cabaret artist fronting a variety of groups and cemented her place in music history as the “Godmother of Zambian Pop.”

In spite of foreboding skull and crossbones motif on the album artwork, a cursory back cover glance at the band photograph and original liner notes paint the picture of playful ensemble. The standout track “Sunshine & Rain” opens with a gloomy mood recalling Canadian Bonnie Dobson’s post-apocalyptic folk classic “Morning Dew” yet inverts expectations by painting a picture of a flourishing Zambian landscape of growth and optimism populated by happy children and farmers as well as city kids dressed in the latest fashions.

The Story of // 5 REVOLUTIONS - I'm a Free Man

Alongside Tinkles and Blackfoot, 5 Revolutions was one of the core groups in the Zambia Music Parlour stable and owe their existence to the nurturing and support of Edward Godfrey Khuzwayo's Ndola-based label. The band produced a compelling trio of Zamrock titles as well as a litany of singles, rounding out their career in the 1980s as a kalindula band with the seminal release Kachasu Ne Ndoshi. From their gritty debut Boyfriends to the sultry Mrs. Brown, 5 Revolutions explored a singularly Zambian take on rock with their second album I'm a Free Man being the best starting point for those new to the band.

Hailing from Kitwe, 5 Revolutions emerged in the early 1970s after members of Morris Mwape's group Boyfriends migrated to the bands WITCH and Peace. Vocalist and lead guitarist Mwape responded by assembling a 5-piece follow-up with a fresh moniker alongside Abel Mukumbwe on rhythm guitar, Zion Lofwa on bass, John Chibuye on drums and Lovemore Sakala on percussion. Owing to the marketing cache of their original name, 5 Revolutions gave the title Boyfriends to their debut release of 1975 and nodded once more to their Boyfriends origins in parentheses in 1976 on cover of I'm a Free Man, which was designed by a renowned Zambian sculptor Flinto Chandia at the outset of his creative career.

While embracing the garage rock textures of overdriven guitars and washed-out organs, 5 Revolutions had little interest in remaining tethered to 4/4 rhythms but were less Pan-African than Musi-O-Tunya in respect to their black musical influences. Instead, they found a way of articulating an acutely Zambian rhythm in rock format and are attributed with creating the foundational template of kalindula. In a nutshell, roots kalindula played on traditional instruments in ceremonial settings migrated to the electric instruments of a stage band through the innovations of the 5 Revolutions. A case in point is the opening track of I'm a Free Man entitled “Mwapulumuka Kunjala Adaka,” which employs 6/7 polyrhythms and ends by evoking a village dance happening featuring celebratory whistles and the plucked single-note bass from which kalindula takes its name.

RIKKI ILILONGA - Sunshine Love

SEPISO RECORDS | RILP 2 | 1976

Lead & Backing Vocals, Guitars & Keyboards, Congos & Percussion: Rikki Ililonga
Bass: Peter Giraudo & Rikki Ililonga
Drums: Sparky Behrens & Rikki Ililonga

Recorded at Sapra + Phonogram Studios (Nairobi, Kenya)
Engineer: Detef Degener
Sleeve Design: Prakash Lalloo

Tracklisting:
A1. Take It Light
A2. Ulemu
A3. Angel Black
A4. Munzi Wa Kangwanda
A5. Working On The Wrong Thing
B1. Sunshine Love
B2. Lovely Woman
B3. Lock Mice'elf Away
B4. Love Is The Only Way

Leonard Koloko (Zambian Music Legends):

Rikki’s second album, Sunshine Love, features tracks that mostly have a tilt towards western music both in lyrical content and sound. Songs like “Angel Black,” “Love is the Only Way,” “Working on the Wrong Thing,” “Ulemu” and “Munzi Wa Kangwanda” were lovely hits for both the young and the old. The song “Ulemu” touches on the need to respect each other’s occupations. It matters less whether one is a cleaner, waiter or fishmonger; they all deserve respect for their service to humanity. “Munzi Wa Kangwanda” tells a sad story of how some traditions could be retrogressive. A girl comes of age and is taken into initiation seclusion as per tradition. During the seclusion she is not to take a bath nor speak but listen to her tutors on sex and life matters. Due to these unhygienic conditions, she dies.

WITCH - Lukombo Vibes

TEAL | ZTZ 7 | 1976

Lead Guitar, Vocals & Percussion: Chris “Kims” Mbewe
Bass: Gedeon “Giddy King” Mwamulenga
Drums, Percussion & Vocals: Boyd “Star MacBoyd” Sinkala
Lead Vocals & Percussion: Emmanuel “Jagari” Chanda
Keyboards: Cosmos Zani

Recorded at Sapra Studios (Nairobi, Kenya)
Sound Engineer: Detef Degener
Produced by Teal Record Company
Arranged by WITCH Label & Cover Design: Mike Greig

Tracklisting:
A1. Thou Shalt Not Cry
A2. Bleeding Thunder
A3. Devil's Flight
A4. Blood Donor
B1. Nasauka
B2. Evening Of My Life
B3. Kangalaitoito
B4. See-Saw

Dusty Groove:

The fourth album from Zambian psych-prog-funk greats Witch! Lukombo Vibes finds the group conjuring up more African sounds than on their earlier records – but it’s still stirring it up from a globally flavoured cauldron. The keyboards as spacey and out there as ever – done with a proggy funk feel that’s totally great. The bass lines are killer too, and overall they’re blending Afro rhythms with global rock as compellingly and uniquely as ever here. Tracks include “Thou Shalt Not Cry,” “Bleeding Thunder,” “Devil’s Flight,” “Blood Donor,” “Nasauka,” “Evening Of My Life,” “See-Saw” and “Kangalaitoito.”

Strawberry Rain Music:

Probably the most progressive album I’ve heard from WITCH. Not as cheerful as Lazy Bones, which is ideal for me. “See Saw” is the highlight, but really there aren’t any weak tunes. Even “Nasauka,” a non-English tune with Afrobeat undertones still manages to find its progressive nature through an extensive organ solo, and in some ways my favourite song on this one. Interesting since you don’t get anything of this sort from Lazy Bones, Introduction or In The Past. Really good stuff, especially since it’s somewhat unique when compared to the other WITCH rock offerings.

KEITH MLEVHU - Love And Freedom

TEAL | KMMLP 007 | 1976

All Vocals, Electric Bass, Lead Guitar, Acoustic Guitar, Keyboards & Drums by Keith Mlevhu

Recorded at Sapra Studios (Nairobi, Kenya)
Engineer: Detef Degener
Album Design: Keith Mlevhu
Manufactured by Teal Record Ltd.
A Teal Record Production

Tracklisting:
A1. Love And Freedom
A2. Bwelelenimo Kumushi
A3. I Am Your Warrior
A4. Fwebana Ba Nomba
A5. Repenting My Sins
B1. My Gun
B2. Ubuntungwa
B3. Inkongole Tashawama
B4. I Am Your Star
B5. Adam & Eve

Leonard Koloko (Zambian Music Legends):

In 1976, Keith travelled to Nairobi under the sponsorship of Teal Record Company to record his second album Love And Freedom. Recorded at Sapra Studios, the album was still on the Mac Bullet label and set new record production standards. This was the first Zambian album to be presented in a full colour cover sleeve jacket. On the cover design, Keith, with plaited locks, is depicted adorned in military camouflage breaking the chains strapped around the globe, his axe deliberately aimed at Southern Africa, where Zimbabwe, Namibia, Angola, Mozambique and South Africa were still struggling for their freedom. The album design was accredited to the artiste himself.

SHARP-FLAT Records:

Axe-wielding guitar wizard Keith Mlevhu chops the chains of the socio-political Southern Africa of 1976. “Love and Freedom” is the title track of his second solo outing recorded at Sapra Studios Kenya and released on Teal in 1976. The acclaimed LP would see another release by WEA in 1978. It is believed to be the first Zambian album to be adorned in a full-colour sleeve.

5 REVOLUTIONS - I'm A Free Man

ZAMBIA MUSIC PARLOUR | ZMPL 18 | 1976

Lead Guitar & Vocals: Morris Mwape

Recorded at dB Studios (Lusaka, Zambia)
All Songs Composed by Morris Mwape
Arrangements: B.D. Nyati for Z.M.P.L.
Producer & Director: Edward Khuzwayo
Cover Design: Flinto Chanda

Tracklisting:
A1. Mwapulumuka Kunjala Adaka
A2. You Got To Find Out
A3. I'm A Free Man
A4. Kulemelo Kwa Bambo Wanga
A5. Respect Yourself
B1. The Zambian Revolution
B2. Feeling Allright
B3. Bombwe Mafika Part 2
B4. What Can We Do

Ben Phiri (Times of Zambia):

A weekend search at Lusaka’s Kilimanjaro Night Club by music promoter Edward Khuzwayo and his producer David Nyati during the 1970s revealed massive talent in the form of a youthful band calling itself the 5 Revolutions. The band was crazy when it came to stage gimmicks, which went well with the fashion of those days when local musicians sported Afro hairstyles with high-heeled shoes, tight bell-bottomed trousers and balloon shirts. This was the style of the 5 Revolutions, whose Zamrock sound blended heavy rock from foreign bands with Afrobeat pieces from Osibisa and Nigeria’s Fela Anikulapo Kuti.

Leonard Koloko (Zambia Music Legends):

These five lads from Ndola swept teenagers off their feet with their bubblegum pop hits in the mid-70s. They were a splinter from the Boy Friends of the era of imitation. Managed by Zambia Music Parlour, they churned out songs that youths easily identified with because of messages that touched on adolescent social issues such as girl-boy relationships, the generation gap and drug abuse.

SALTY DOG - Salty Dog

ZAMBEZI | ZTZ 8 | 1976

Lead Vocals: Jackie Mumba | Norman Muntemba
Guitars: Jackie Mumba
Bass: Norman Muntemba
Drums: Hassan Hassan | Alex Mwilwa

Recorded at dB Studios (Lusaka, Zambia)
Engineers: Peter & Nikki
Illustration: Trevor Ford
Design: Norman Muntemba
A Teal Record Company Product

Tracklisting:
A1. Fast
A2. Mama
A3. See The Storm
A4. Down In My Shoes
A5. Try A Little Harder
B1. Tisauke
B2. Sunshine In My Hair
B3. Have You Got It
B4. Doggy Rock
B5. Lullaby

Leornard Koloko (Zambian Music Legends):

The name may not be very appetising but this was one of the most enterprising bands of their time. They specialised in classic rock and released one self-titled album under Teal. Norman Muntemba, who was a member of the outfit, also designed the cover depicting a a cartoon dog salivating and licking its lips. The three-man band was formed at Zambia National Service Camp in Kabwe and featured Jackie Mumba on lead guitar.

Strawberry Rain Music:

One of the most obscure albums of the Zamrock period, this self-titled psychedelic long-player from Zambia was recorded privately without any pressure from the record label. Modelled after the Jimi Hendrix Experience, with a name that is slang for “sperm,” the three-piece band recorded the album at dB Studios in Lusaka in 1976. Full of killer guitar, English vocals and great songwriting.

SHARP-FLAT Records:

Strawberry Rain joins the ranks of Shadoks and Now-Again in coaxing the evasive coelacanths of Zambian rock from the murky depths of the Zambezi River. This time it’s the face-melting fuzz of Salty Dog (circa 1976) that breaks the surface of forgetfulness to wreak havoc on unsuspecting tympanic membranes. A trio of army boys from Kabwe put the LP together and bassist-stroke-designer Norman Muntemba slapped artist Trevor Ford’s iconic hairy-eyeball mutt on the cover. Tighten your paisley tie to keep from drooling.

CHRISSY ZEBBY TEMBO - My Ancestors

CHRIS EDITIONS | CL002 | 1976

Drums & Vocals: Chrissy Zebby Tembo
Guitar & Vocals: Paul Ngozi
Bass: Tommy Mwale

Recorded at Sapra Studios (Nairobi, Kenya)
Engineer: Detlef Degener
Written & Produced by Chrissy Tembo
Design & Art by Graphic Design Ltd.
A Chris Ndhlovu Production

Tracklisting:
A1. My Ancestors
A2. Trouble Maker
A3. Lonely Night
A4. Coffin Maker
A5. Oh Yeh Yeh
B1. Fisherman
B2. I've Been Losing
B3. Feeling Good
B4. Gone Forever

Liner Notes:

Chrissy Zebby Tembo was born in Chingola 27 years ago. He started his musical carreer in 1970 as a drummer for the Scorpions, who became Three Years Before and are now the Ngozi Family. And now Chrissy has recorded this solo album and hopes you’ll enjoy listening to it. Thanks to Tommy Mwale on bass and Paul Ngozi on guitar.

Strawberry Rain Music:

Zebby’s debut album is probably his most consistent offering and, to date, his most notorious as it’s been reissued a couple of times. It would have benefited from a bit more variety but I think for people just getting into Zamrock this will raise eyebrows quicker than someone like Blackfoot or 5 Revolutions would as it’s got fuzz all over. Currently one of the staples of the genre.

Now-Again Records:

The late Zebby Tembo, as he was often referred to by his bandleader, recorded at least two albums under his own name, as well as a collaborative album with Ngozi and a handful of 45s. All are special, and feature the drummer’s straight-ahead thrust and throaty vocals amidst Ngozi’s constant fuzz guitar.

Shadoks Music:

This might be the final chapter of our releases from Zambia (unless we find an unknown album which is as good as this one). Chrissy Zebby Tembo is the drummer of the Ngozi Family. This time the album is under his name and Paul Ngozi is his guitarist. This album is so great, we left the best for the last Zamrock release. Wild fuzz guitars all over (how do they get those sounds?), African beats and extra cool vocals. People say it’s easily one of the best African psychedelic rock albums ever recorded – raw and rough with gaping charm and tons of front-and-centre fuzz guitar over basic, ultra catchy rock/pop tunes reminiscent in style to maybe the Velvet Underground. The songs are sung in English.

MUSI-O-TUNYA - Give Love To Your Children

M.O.T. RECORDS | LMOT 001 | 1976

Bass, Flute, Xylophone, Kalimba & Vocals: Derick Mbao
Guitar: Wayne Barnes
Drums, Bongos & Vocals: Brian Chengala
African Drums, Cowbell, Bass Drum, Bongos, Timbales, Kalimba etc. & Vocals: Alex Kunda
Congas, Acoustic Guitar, Bells & Vocals: Siliya Lungu
Trumpet & Trombone: Njenga
Saxophone: Abdallah

Recorded at Sapra Studios (Nairobi, Kenya)
Engineer: Detlef Degener
A Musi-O-Tunya Production
Label Design: Chris Manners
Cover Design for M.O.T. Records: Tina Aschan
Cover Design for Teal Edition (Above): Prakash Lelloo

Tracklisting:
A1. Give Love To Your Children (Mbao)
A2. Sunkha (Kunda)
A3. Starving Child (Mbao)
A4. Ayeye (Mbao)
A5. Njala (Mbao)
B1. Katonga (Kunda)
B2. When I'm Gone (Lungu)
B3. Bashi Mwana (Chengala)
B4. My Baby (Mbao)
B5. Mwana Osauka (Mbao)

Leonard Koloko (Zambian Music Legends):

At the time when Zamrock was beginning to hit the airwaves there was hot debate on whether to classify MOT in that genre or that of Afro-rock. The majority of the fans placed them in the latter and declared them Zambia’s answer to Osibisa because MOT had taken an international direction. Like Osibisa, they attempted to portray an image of virgin Africa untouched by western civilisation. This they did by appearing in stage costumes of animal skins, beads, feathers etc. Their image was close to that of traditional dancers and apart from the western guitars and drums they added other, African instruments to make their sound richer and authentic. Another addition to their African image was the adaptation of Rastafarian hairstyles which many other musicians would later emulate.

Now-Again Records:

We can only describe Give Love To Your Children as a medley of Funk, Psych-Rock, and Fuzz-Guitar-lead Afrobeat from this ground-breaking Zambian band. This album’s grooves hold the last, sustained shouts from one of the first Zamrock ensembles: Musi-O-Tunya exploded at the height of the Zamrock movement, scattering its members everywhere, with only this last, fiery artefact to remember them by.

BROADWAY QUINTET - Amalume (Lekani Mowa)

TEAL | ZTZ 4 | 1976

Keyboards: Tony Maonde
Lead Guitar & Vocals: Zacks Gwaze
Bass Guitar, Sax & Vocals: Simanga Tutani
Drums, Percussion & Vocals: Timothy Sikova
Congas, Rhythm Guitar & Vocals: Jonah Marumahoko
Trumpet on “Matteo” & “Nifyo Fine”: Peter Bwalya

Recorded at d.B Studios (Lusaka, Zambia)
Engineers: Graham, Nikki & Peter
Produced & Arranged by The Broadway Quintet for Teal Record Company
Cover Design: T. Ford & Gibson Tembo
Pictures: B. Nkunika

Tracklisting:
A1. Amalume
A2. Kanyange
A3. Nifyo Fine
A4. Chingoma
A5. Change Your Mind
B1. Akana Ndiwo
B2. Jiye Manguwe
B3. Matteo
B4. Kayuni
B5. Mr. Music
B6. Pimu Chinanga

Liner Notes:

They hail from such old-time groups as the Rhokana Melodies, The Crooners, De Black Evening Follies and The City Quads. It was the UNIP National Band of 1962 that brought the boys together. And they’re still together 14 years later! Tony Maonde, Zacks Gwaze, Timothy Sikova, Jonah Marumahoko, Simanga Tutani – individually, musicians of rare talent; together, The Broadway Quintet, polished night-club performers of Lusaka’s Hotel Intercontinental. But, beneath their public image there runs, like the mighty Zambezi, a creative force that explodes with originality and electrifying beauty. From vocal compositions like “Mr. Music” and “Change Your Mind” through the more traditional “Jiye Manguwe” and title-track “Amalume,” The Broadway Quintet move into instrumentals of the brilliance and vitality of “Matteo” and “Nifyo Fine.” To The Broadway Quintet we say, “Thanks for a fantastic LP.”

NGOZI FAMILY - Day Of Judgement

ZAMBIA MUSIC PARLOUR | ZMPL 17 | 1976

Lead Guitar & Vocals: Paul Ngozi
Bass: Billy Sithenge
Drums: Chrissy Zebby Tembo
Rhythm Guitar: Peter Bwalya

Recorded at dB Studios (Lusaka, Zambia)
Studio Arranger: N.J. Ashley
Arrangements by Billie David Nyati on behalf of Zambia Music Parlour
Producer/Director: Edward G. Khuzwayo
Design: Flinto S. Chandia (Stoned Frog)

Tracklisting:
A1. Day Of Judgement
A2. Hi-Babe
A3. I Wanna Know
A4. Kumanda Kwa Bambo Wanga
B1. Tikondane
B2. Banawe
B3. Let Me Know
B4. We Wonna Give It To Her
B5. I'm On My Way

Liner Notes:

Paul Nyirongo alias “Ngozi” was born in Lundazi, Eastern Province Zambia 26 years ago. He made his musical debut in 1970, with the “Scorpions” and later the “3 Years Before”, a group playing in Livingstone. After 1½ years in Livingstone, the group moved to Kabwe where they performed for two years. During the Kabwe era the group faced some hardships which led to its disbanding in 1974. In 1975, Paul, nicknamed “Ngozi” (which simply means “Danger”) by his fans for wild stage gimmicks with his guitar, joined the “Crossbones” of Lusaka. Two months later, he left the “Crossbones” after catching the keen eye of Brian Chengala, Drummer of the “MOSI-O-TUNYA”, a Zambian band currently based in Kenya, East Africa. The two later left Zambia and thus “Ngozi” became the lead guitarist of the Zambian musical exports, the M.O.T. He played lead and backed vocals in the famous M.O.T.’s recorded single, ‘Tshegulani’. The wizard “Ngozi” called it quits with the M.O.T. six months later and was seen with his lovely fans in December, 1975. Now once again he has revived the “3 Years Before” and later renamed the group “Ngozi Family”. We at Z.M.P.L. wish the Ngozi Family all the best and a successful first long play. – Billie D. Nyati (Z.M.P.L.:P.R.O.) 

Now-Again Records:

His debut album – issued under the name Ngozi Family – is an important record: not just in the Zamrock genre, but in the global rock canon. Day of Judgement is an introduction to the most intense, raw and inimitable golden era Zamrock recorded, as it paved the way for a dozen Paul Ngozi and Ngozi Family releases (the most famous being drummer Chrissy Zebby Tembo’s My Ancestors) that straddled the line between funk and punk, of driving hard rock and Zambian folk melodies and rhythms. Day of Judgement was released in 1976, the same year as other, now famous, Zamrock albums, from WITCH’s Lazy Bones!! to Rikki Ililonga’s Zambia to Musi-O-Tunya’s Give Love To Your Children, all reissued on Now-Again. But Day of Judgement sounds like none of its counterparts. Part of that stems from its frenzied primitivism, the Ngozi Family’s attempt to overcome a lack of musical acumen with sheer force of will. That will allowed Paul Ngozi to overcome a humble upbringing to become the most unlikely combination: Zamrock’s most beloved star in its brief but now-well chronicled arc; the only musician to maintain his fame and recording prowess in the dark ages of the ’80s; an inspiration to not only aging but young Zambians – and now others, beyond Zambia’s borders. But one cannot imagine Paul Ngozi without this album, a full-on aural assault that sounds as wild nearly forty years after its release as it must have sounded in the developing Zamrock landscape from which it emerged. We listen to this anachronistic yet prescient album now as a wholly original, completely unpredictable album in line with those from mavericks from across the world – from the Ramones to the Sex Pistols to Death. And, though it’s been over two decades since Paul Ngozi’s passing, his voice and vision still seem exciting, powerful, unique, unvarnished, new.

Strawberry Rain Records:

The rawest Ngozi album. Really gritty recording, fuzz guitar that is mixed way too loud at times (which is a great thing), crunchy lo-fi drums and no filler. Lo Fi psychedelic garage with a snotty punk-like attitude. The Ngozi Family does one thing on this album, but damn do they do it well. Ngozi’s most consistent effort, and to my ears one of the grails of the Zambian rock era.

CROSSBONES - Wise Man

ZAMBEZI | ZTZ 3 | 1976

Lead Vocal & Bongos: Nick Joe Mwanza
Lead Guitar & Vocals: George Mlauzi
Organ & Vocals: Sebby Nyirongo
Bass & Backing Vocals: Joe Tembo
Second Lead Guitar: Henry “Mad Doc” Nkhata
Drums: Richard Shachobe
Vocals: Violet Babs Kafula

Recorded at d.B. Studios (Lusaka, Zambia)
Produced by Crossbones Engineers: Nikki Ashley & Graham Skinner
Liner Notes: Nikki Ashley
Cover Design & Typesetting: Gilbert Advertising Ltd. (Ndola, Zambia)

Tracklisting:
A1. Lizi
A2. Fever
A3. Say that You Love Me
A4. You Always Get Me Wrong
A5. Mavuto
A6. Wiseman
B1. Rain & Sunshine
B2. Mwebalume Bandi
B3. Highway
B4. Your Mama Hates Me
B5. Really
B6. Easy

Liner Notes:

Who are Crossbones? Well, there’s the Mad Doc who’s guitar never seems to touch down. Then there’s George. His guitar is pink. (He thinks it’s scarlet with pink stripes). Sebby plays the organ. Sounds like a relatively easy job – but you should see the organ, it’s got teeth, not keys! And Joe, well there’s not much I can say about him, he stopped talking the day he picked up his bass guitar. Now it does all the talking for him. He loves big sunglasses. Nicky, apart from singing, buys groceries and loves big hats. The drummer – I can never remember his name (it’s Richard, really) is a quiet guy except that he keeps dropping his cymbals. Violet, we mustn’t forget Violet. She’s got the biggest sense of humour around – and she’s cheeky, too. Well, that’s the Crossbones; and in all seriousness, they’re just great to work with. Snatched from the jaws of death, they were deposited “en masse” on a Teal contract form, a little shaken but not in the least subdued. They picked themselves up and strolled though their surroundings: found the scenery very pleasant. Finally discovered the dotted line and promptly went to sleep. Dreamed up some nice little numbers, too. We hope you enjoy listening to them as much as we enjoyed recording for you. – Nikki

Leonard Koloko (Zambian Music Legends):

The Crossbones unveiled diva Violet Kafula when her voice spiced up their famous Wise Man album on which she contributed the track “Mwebalume Bandi.” The song stole the hearts of many music followers because of its rich message in which a woman bemoans the waning of her husbands love. The song catapulted her to fame in 1975 following its release as a single. Within weeks, it had sold over 14 000 copies. Violet joined the Crossbones in 1973, breaking the barrier that unofficially barred female artists from coming out in the open musically.

BLACKFOOT - Millie

 ZAMBIA MUSIC PARLOUR | ZMPL 19 | 1976

Lead Guitar & Vocals: Ottiman Mpondzi
Rhythm Guitar: Alfred Yabe
Bass Guitar & Vocals: Garry Musopa
Drums: George Kabale

Recorded at dB Studios (Lusaka, Zambia)
Sponsor/Manager: Sam Kampodza
Producer: Andre Abrahamse
Executive Producer: Goodson Nguni
Originally released by Goodson Records as Youth Power in 1975
Acquired & Reissued by Zambia Music Parlour as Millie in 1976
Zambia Music Parlour Producer/Director: Edward Godfrey Khuzwayo
Zambia Music Parlour Cover Design: James Zulu & Marco Mumba

Tracklisting:
A1. When It's All Alright
A2. Papa Papa
A3. Nothing To Give
A4. Sundie's Popcorn
A5. Groovy Bone
B1. Inyonga Ya Tobeka
B2. Poor Connection
B3. Millie
B4. Running Goodson Records

Youth Power Liner Notes:

This LP introduces the “Jackson Five” of Zambia: young, energetic, creative and funky musicians. From Livingstone to Chililabombwe, people scream when the Blackfoot (that Kitwe-based rock, or shall we call it funky-rock, group plays). Since I have worked with or produced all the big names in Zambian music circles, I must admit the Blackfoot being so young and school-going blew my mind when they entered the studio to bring you, especially, this long player called Youth Power. – Goodson Nguni
 

Leonard Koloko (Zambia Music Legends):

From the city of Ndola came the great band managed by Zambia Music Parlour. The band was originally formed in Kitwe under the name Holando Boys and initially specialised in bubblegum pop before turning to Zamrock.