Zamrock Podcast // Sounds of Southern Africa

Sounds of Southern Africa: Music, Empowerment, Freedom is a podcast series created by the French Institute of South Africa (IFAS) and IFAS-Recherche and produced by A11 Agency. In this episode, Calum MacNaughton shares stories about Zambian rock music, or Zamrock, and its relationship with power in the 1970s.

Featured Tracks: "Tiyende Pamodzi" The Tinkles > "The Wings of Africa" Musi-O-Tunya > "Day of Judgement" Ngozi Family > "Kapande" Oscillations > "Freedom Fighter" WITCH > "Fwe Bena Zambia" 5 Revolutions

ZMPL 70 // MULEMENA BOYS - A Tribute to the Late Emmanuel Mulemena

Named in honour of Zambia Music Parlour recording artist and honorary producer Emmanuel Mulemena, The Mulemena Boys was founded in the wake of their namesake's death in 1982 by members of his backing band. Dedicated to their former bandleader, the group's 1984 debut draws on the type of folk music that Mulemena popularised in the 1970s with influences from the kalindula sound that was shaking up the music scene in the 1980s and rumba imported from the Democratic Republic of Congo. With its signature use of the drum machine and timeless good vibes, A Tribute to the Late Emmanuel Mulemena was Zambia Music Parlour's best selling title.

ORIGINAL LINER NOTES:

Zambian folk maestro Emmanuel Mulemena, who died in February 1982, has not gone with the wind. Twenty two months after his death, the flame of his music has been rekindled by this album entitled A Tribute to the Late Emmanuel Mulemena, created by The Mulemena Boys under the Zambia Music Parlour label. The vocals on the album are not Mulemena's but the lyrics and music remain typical of him and most of the numbers are his. The main song on the album is "Navuluka," which is in Kaonde and comments on the fatherly advice the late singer gave to the band when he was still alive.

The Mulemena Boys is composed of Gift China on the bass guitar and backing vocals, Brian Chibangu on the rhythm guitar and lead vocals and Joseph Muemba on the lead guitar. When Mulemena was alive, the band performed as Mulemena and The Sound Inspectors. Gift China, who is the bandleader, said that the band changed their name after the death of the folk maestro. Chisa said the band was hit by a financial crisis after Mulemena's death. "When the late Mulemena lived, we were financially sound but now, despite recording ventures which can be profitable, we are really struggling," intoned a sullen looking Chisa.

The death of Mulemena brought a lot of hardships on the band, which is now desperately struggling. Before Mulemena got sick, the band was holding live shows at Kosapo Bar in Luanshya. When Mulemena was in hospital, during one of their shows, three amplifiers blew up for the lead guitar, bass guitar and one for the vocals. At the death of their leader, they only had one amplifier left! The band has recorded two singles so far, "Mukamfwila Afwa" and "Bana Mayo Bambi," which have done very well in the music market. In the meantime, the band performs at High Life Bar in Kitwe.

The "boys" give their thanks to the management of Kosapo Bar for the help rendered to them to repair their amplifiers. Thanks also go to Mr. R. Musompe, the uncle of the late singer, for the gererosity and cooperation he has always shown. Lastly, best wishes to Mr. Edward Khuzwayo, Peter Katongo and Mr. Billie Nyati for making this album a reality.

Lead Guitarist – Joseph Mutemba

Lead Vocals & Rhythm Guitar – Brian Bruno Chibangu

Bass Guitar & Backing Vocals – Gift Simon Chisa

A Music Parlour Production

Produced by Edward Godfrey Khuzwayo and Billie David Nyati

Cat. No. ZMPL 70

℗ 1984 © 2023 Zambia Music Parlour Legacy

ZMPL 100 // MULEMENA BOYS - Pakyalo

While the works of many great artists from the 1970s and 80s was handled by Zambia Music Parlour, there are a handful of groups that had a special relationship with the label, benefitting not only from the production, manufacturing and distribution of albums but also from band management, promotion and bookings. The Tinkles was one of these groups, providing ZMP with their debut release. Barely out of school, Blackfoot were another, taken under the wing of A&R Billie David Nyati to help shape their career. But perhaps the group most strongly associated with the label in the collective consciousness of Zambian popular music is the Mulemena Boys.

Named in honour of Zambia Music Parlour recording artist and honorary producer Emmanuel Mulemena, the Mulemena Boys was founded in the wake of their namesake's death in 1982 by members of his backing band. The group burst on the scene in 1984 with a debut dedicated to their former bandleader that drew partly on the type of folk music that Mulemena had popularised in the 1970s, partly on the kalindula sound that was shaking up the music scene in the 1980s, and partly on rumba imported from the Democratic Republic of Congo. With its signature use of the drum machine and timeless good vibes, A Tribute to the Late Emmanuel Mulemena was Zambia Music Parlour's best selling title of all time. After a sophomore release, the Mulemena Boys were succeeded by the Junior Mulemena Boys under the leadership of guitarist Fred Bwalya. The group continued to release albums on Zambia Music Parlour until the 1990s, when vinyl production in Zambia was discontinued. Despite a long hiatus from recording, the Mulemena Boys have remained a well-loved institution on the live music scene in Zambia.

In 2015, the band finally returned to the studio to record again. Pakyalo (meaning "the world") captures the Mulemena Boys delivering their rock-solid formula and holding the torch for the old ways. They also haven't forgetten their forebear, revisiting "Imbote" from Emmanuel Mulemena's Shuka Shuka album in 1974 - the second LP ever released by Zambia Music Parlour. With Pakyalo, the Mulemena Boys return to their record label partner to deliver ZMP's first release since the 1990s, a landmark comeback with catalogue number ZMPL 100.

Guitar & Vocals – Fred Bwalya

Guitar & Vocals – John Kameya

Vocals – Shadrick Muhono

Keyboard – Jakie Lombe

Bass – Iven Musomali

Drums – Francis Katongo

Recorded at G&D Studios in Lusaka, Zambia

Recording Engineer: Jimmy Judge

Produced by Osward Mulenga & Mulemena Boys

Cat. No. ZMPL 100

℗ 2015 © 2022 Mulemena Boys

Marketed and Distributed by Zambia Music Parlour

DIGITAL ALBUM

ZMPL 15 // TEDDY CHISI - Limbikani (1975)

The debut album from Kitwe-based singing accountant Teddy Chisi, Limbikani translates as “be strong” and the title track encouraged Zambians to work hard to develop the country despite trying economic times in the mid-70s. Chisi would go on to leave a notable mark on the Zamrock scene via three albums and multiple singles in his distinctive soul-funk crooner style. Releasing material on Zambia Music Parlour, Teal, Motaxis, Mac Bullet and Chris Editions, Chisi appears on all the important Zamrock imprints. His lo-fi albums were accompanied by the Fireballs, who would eventually morph into his backing band as the Mo Solid Sounds.

ZMPL 1 // THE TINKLES - Chalo Kuwama (1974)

WITCH’s “private press” edition of Introduction in 1972 and a clutch of singles from Musi-O-Tunya in 1973 are rightly heralded as the first Zamrock recordings issued on vinyl. But given that these projects were produced and pressed in Kenya, the Tinkles lay claim to a more significant Zambian music title. Issued in 1974 as the inaugural long-player on the fledgling Zambia Music Parlour label, the Tinkles debut Chalo Kuwama was the first Zamrock album recorded, manufactured and commercially released in Zambia. It was a game changer.

“The whole project was an experiment,” recalled founding member and keyboardist Isaac Makunta, reflecting on the recording session at Malachite Studios in the Copperbelt, a facility that was set up to produce promotional films for the mining industry. And yet, with modest resources, an exquisite and enduring slab of garage-era Zamrock was created. The Tinkles would go on to record several singles and the sophomore release Muchacho in 1975 before disbanding.

The Story of "Zamrock!!" // The Zambian Rock Sound 1972-1978

A snapshot of the social and political backdrop of Zambia's rock music scene in the 1970s and a companion documentary to the eponymous 8LP vinyl boxset of May 2020. This short film weaves together interviews with ten artists and music industry professionals from the era and provides anecdotal insights into the creation and production processes of Zambia's burgeoning 1970s recording industry. The Story of "Zamrock!!" puts a face to some of Zambian rock's most cherished songwriters, presenting interviews with surviving members of Amanaz for the very first time and introducing the eccentric A&R executive Billie David Nyati of the independent Zambia Music Parlour label. Also featured are Zambia's first female recording artist Violet Kafula of Crossbones and physically challenged guitar wizard Victor Kunda Kasoma of Oscillations. Eschewing voiceovers or academic exposition, this short documentary is a refreshing insider window onto one of the 20th century's most compelling outsider rock scenes.

This is “Zamrock!!” // Blackfoot

Issued by Zambia Music Parlour in 1976, Blackfoot’s Millie (ZMPL19) joined a prestigious catalogue that included releases by Tinkles, Emmanuel Mulemena, WITCH, Peace, Amanaz, Rikki Ililonga, Born Free, 5 Revolutions and Ngozi Family. In the two years since its debut, Edward Khuzwayo’s Zambia Music Parlour had established itself as a principal exponent of the burgeoning Zambian recording industry. The Foot Steps (ZMPL28) followed in 1978, securing Blackfoot’s place in Zambian rock history. 

Read More: Tracking Blackfoot (Digital Liner Notes)

BLACKFOOT - The Foot Steps

ZAMBIA MUSIC PARLOUR | ZMPL 28 | 1978

Vocals & Lead Guitar: Bonnie Ottiman Mpondzi
Rhythm Guitar & Vocals: Alfred Gear Yabe
Bass Guitar & Vocals: Garry Musopa
Drums: Fortune Makunike
Keyboard: Crispin Malunga
Lead Vocals on “Washinga Here”: Billie David Nyati

Recorded at Malachite Studios (Chingola, Zambia)
Engineers: Richard Hughes & Geoffrey Kachusha Mulenga
Manager & Producer: Billie David Nyati
Executive Producer: Edward Godfrey Khuzwayo

A1. The Footsteps (Bonnie)
A2. When I Needed You (Blackfoot)
A3. Send Me The Flowers (Bonnie)
A4. Washinga Here? (Fortune)
A5. Mwe Bafyashi (Bonnie)
B1. Jefferson (Bonnie)
B2. Pumpa Joe (Blackfoot)
B3. Lonely Highway (Bonnie)
B4. Sounds In My Sleep (Blackfoot)
B5. Kanyamawodi (Alfred)

Strawberry Rain Music:

The Foot Steps was the brainchild of legendary producer Billie Nyati, and the second and final album from Blackfoot. An essential Zamrock document and among the genre’s finest achievements. Plenty of incredible songs on here including “Lonely Highway,” “Send Me The Flowers,” “Mwe Bafyahi,” “When I Needed You” and many more.

SHARP-FLAT Records:

The album’s meandering title track, a signature Zambia Music Parlour instrumental album opener, was followed by a pair of songs reflecting the band’s collaboration with lyricist Davey Musopa, who lent an introspective poeticism to their new English offerings. Exploring his Zimbabwean roots, Fortune penned the Shona track “Washinga Here,” a cautionary appeal to a young woman on the verge of eloping, which features producer Billie David Nyati on vocals. “Mwe Bafyashi” in Bemba follows on its heels, instructing parents to keep children from drinking, smoking and misbehaving while side two unfolds with an English-language song cycle that negotiates influences as varied as Dylan, Creedence and the Velvets, closing with Alfred’s “Kanyamawodi,” a Nyanja dirge bemoaning greed and selfishness.

MIKE NYONI - I Can’t Understand You

ZAMBIA MUSIC PARLOUR | ZMPL 51 | 1978

Words & Music by Mike Nyoni

Tracklisting:
A1. I Can't Understand You
A2. Amida
A3. Highway
A4. The Letter
A5. A Wise Boy
B1. My Choice
B2. No More Love
B3. Africa
B4. Miss Universe
B5. Chikwati Chata

Leonard Koloko (Zambian Music Legends):

Mike Nyoni was renowned for his songwriting skills and arrangements. His Kawalala album was followed up with a second, I Can’t Understand You, which featured hits like “Amida,” a love ballad addressing a beautiful girl to stay away from trouble and protect herself from the vultures of men. The beauty of the song lay in the smooth vocal style that was applied. The chorus had a semi rap vocal style and the guitar work was mesmerizing and well executed. I Can’t Understand You went on to be exported and reissued abroad.

Pérolas do Rock Blog:

“I Can’t Understand You” is divided into 10 short tracks with a lot of groove and influenced by funk and even a little of disco and ballads but without neglecting the Zamrock roots. The instrumentation is simple and straightforward, guitar-driven, at times fuzz, following Nyoni’s good vocals. My favourite tracks are “I Can’t Understand You”, “Highway” and “Africa”. A softer version of Zamrock but still recommended to the fans of the style.

NGOZI FAMILY - 99% Confusion

ZAMBIA MUSIC PARLOUR | ZMPL 41 | 1977

Lead Guitar & Vocals: Paul Ngozi
Bass: Tommy Mwale
Drums: Chrissy Zebby Tembo
Rhythm Guitar: Peter Bwalya

Recorded at Oz Studios (London, England)
Engineer: Ozzy Falquerol
Artwork: Langson Chinyama & Modest Kamenga
Produced & Arranged by Ngozi Family
Producer/Director: Edward G. Khuzwayo

Tracklisting:
A1. Chisoni Kwanzatu A Zimbabwe
A2. 99% Confusion
A3. Stay With Me
A4. Poem Writer
B1. Tikonde Alendo
B2. My Little Girl Friend
B3. Tekanyeni
B4. Calling Everybody
B5. Little Clown

Leonard Koloko (Zambian Music Legends):

The Ngozi Family played what was called Heavy Metal music although the local press opted to call it Zam-Rock. In reality, their music was a blend of traditional chikinya music and something close to Heavy Metal but, all the same, it worked for the Zambian music setting. All of their albums had weird titles and very creative cover designs. On 99% Confusion, they posed in ladies clothes! Strawberry Rain Music: One of the strangest album covers ever.

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.

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

Original Liner Notes (Omitted on Reissue):

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.

RIKKI ILILONGA - Zambia

ZAMBIA MUSIC PARLOUR | ZMPL 10 | 1975

All Instruments & Vocals: Rikki Ililonga

Recorded at Sapra Studio (Nairobi, Kenya)
Sound Engineer: Detef Degener
Produced by Rikki Ililonga
Photography: George Kaemba
Art & Graphics: A+S Graphics
Cover Design: Choko M’hango
Published by Sepiso Record
Equipment: Peter Girado (Nairobi, Kenya)
Manufactured & Distributed by Music Parlour Limited

Tracklisting:
A1. The Hole
A2. Shebeen Queen
A3. Zambia
A4. Hot Fingers
A5. Musamuseke
B1. The Nature Of Man
B2. Sansa Kuwa
B3. Stop Dreaming Mr. D.
B4. The Queen Blues
B5. Se-Keel-Me-Kweek

Liner Notes:

Rikki Ililonga started playing the guitar at the age of 18. Has played with almost every band in Zambia. Travelled extesively in Africa and abroad in search of musical knowledge. Founder member of Musi-O-Tunya who are know based in Nairobi – Kenya. In this, his first album, Rikki composed and arranged all the numbers. He switches from electric guitar to acoustic and slide guitars, bass, drums, congas and harmonicas with ease. He played all the instruments and does all the vocals himself. If you want to listen to African sound with a difference, this is the one. The sound of Rikki Ililonga of Zambia. – Choko M’hango

I would like to thank the following people for giving me encouragement and confidence thru’out the years of my musical career. Thanks to Ernest Mando for helping me see thru mice’elf. To Mannasseh Phiri and Charles Mando for tolerating my filthy habits and bad manners. And loving thanks to Sandi, who lived through it all to become my best friend, lover and wife – May the spirits bless her fanny. My special thanks to Brother Njenga and Charlie Sekano for blowing their horns along. Not to forget Bonnie Wanda, George Monte and Jimi Mawi. Lastly, I’d like to thanks George Kaemba to whom this ambum is dedicated with love and respect, for living thru’ the noise and joysticks without complaining. And thanks to U, whoever U’re, for reading this B.S. – Rikki

iTunes Music:

There’s a little more polish to this stuff (and a lot of acoustic guitar-based singer/songwriter stuff), as opposed to the wildass in-studio jams of the Musi-O-Tunya album, but Ililonga doesn’t restrain himself that much — he takes one of his scorching guitar solos through the entirety of “Sansa Kuwa,” and the funk groove of “The Hole” is unstoppable. Ililonga’s English-language lyrics are frequently dark, dealing with depression and social problems in Zambia, as opposed to the party anthems many other African groups were recording at the time, and his voice is weirdly compelling, more reminiscent of Damo Suzuki than peers like Fela or Sir Victor Uwaifo.

AMANAZ - Africa

ZAMBIA MUSIC PARLOUR | ZMPL 8 | 1975

Vocals, Maracas & Tambourine: Keith Kabwe
Lead/Rhythm Guitar & Vocals: Isaac Mpofu | John Kanyepa
Bass Guitar & Vocals: Jerry Mausala
Drums & Vocals: Watson Lungu

Recorded at Malachite Studios (Chingola, Zambia)
Engineer: Geoffrey Kachusha Mulenga
Assistant Engineer: Grayson Phiri
Arrangements by Billie David Nyati
Directed & Produced by Edward G. Khuzwayo
Jacket Design: A+S Graphics (Ndola, Zambia)

Tracklisting:
A1. Amanaz (Mpofu/Mausala)
A2. I Am Very Far (Kabwe)
A3. Sunday Morning (Kanyepa)
A4. Khala My Friend (Mpofu)
A5. History Of Man (Mpofu)
A6. Nsunka Lwendo (Mausala)
B1. Africa (Kanyepa)
B2. Green Apple (Kanyepa)
B3. Making The Scene (Lungu)
B4. Easy Street (Kabwe)
B5. Big Enough (Mausala)
B6. Kale (Lungu)

Liner Notes:

Amanaz are a group of five. Namely, Keith Kabwe from the “Clusters,” which broke up in 1972. John Kanyepa from the “Black Souls,” which also broke up early in 1975 in Kitwe. Watson Lungu & Terry Mausala from “MacBeth,” which disbanded in 1973. Isaac Mpofu from the “Wrong Number,” which disbanded in 1973 in Kitwe. The band was formed in December 1973. Amanaz give their most thanks to Edward G. Khuzwayo, who sponsored the entire recording, and not forgetting Billie David Nyati, who assisted on behalf of Music Parlour Limited to arrange the songs during recording sessions.

Leonard Koloko (Zambian Music Legends):

This is a fuzz guitars and bass driven rock album which was released in 1975 and has since been reissued. Although the main title is “Africa,” it has nothing of the Africanised highlife and juju styles. Instead it has an internationalised style with certain African elements still being recognisable. 

Strawberry Rain Music:

There are two original pressings of this album with completely different mixes. It’s an ideal blend of psychedelic rock and African sounds and somewhat original when you look at the Zambian scene as a whole. Maybe not the heaviest thing you’ll hear from Zambia but a great album none the less. It offers variety without losing the listener or the overall feel of the album. The original pressing has a little more separation and reverb compared to the reissue, especially in the vocals, but overall it isn’t the greatest pressing to begin with unfortunately. It seems the Zambian recording industry was hit or miss with its pressings and overall mastering. Really all over the map sonically as an industry, even within labels and individual bands.

Shadoks Music:

Amanaz was formed in 1973. Three songs are in the native language Bemba and nine songs are in English. Musically, it goes in the same direction as BLO, WITCH and Question Mark but this album is way cooler and stoned with amazing fuzz guitar all over, which sounds like an African version of early Cream. The cover makes it look very traditional but after a few spins you are aware that this one is very special. It’s so cool, so tightly produced and easy to compare with UK underground albums with a touch of African beats.

Now-Again Records:

Issued in 1975, this is the articulation of Zambia’s Zamrock ethos. While other albums – Rikki Ililonga’s Zambia, WITCH’s Lazy Bones!! – are competitors, it’s hard to best this album as it covers each major quadrant of the Zamrock whole: it came from the mines; its musicians were anti-colonial freedom fighters, it envelops Zambian folk music traditions, and it rocks – hard. Africa was issued in two separate mixes and two separate presses in 1975: one version is dry, with the vocals and drums mixed loud, the other slathered in reverb, with the vocals and drums disappearing into the mix, and with the guitar solos mixed much louder.

COOL KNIGHTS - Bana Mulenga

ZAMBIA MUSIC PARLOUR | ZMPL 13 | 1975

Recorded at dB Applications (Lusaka, Zambia)
Studio Arranger: N.J. Ashley
Arrangements by Billie David Nyati on behalf of Music Parlour
Producer/Director: Edward G. Khuzwayo
Album Artwork: A+S Graphics

Tracklisting:
A1. My Beautiful Sarah
A2. Soul Bana Mulenga
A3. I Don't Doubt About You
A4. Intanga Zami
A5. My Sweet Rita
B1. Tired of Being Alone
B2. Ngonile
B3. My Quanty Shoes
B4. Pezu Kwentaba
B5. I May Be a Fool

BORN FREE - Mukaziwa Chingoni

ZAMBIA MUSIC PARLOUR | ZMP 11 | 1975

Lead Vocals & Lead Guitar: Mike Nyoni & Joseph Musonda
Bass Guitar: Banza Mado
Drums: Peter Lungu

Written & Composed by Born Free
Recorded at dB Studios (Lusaka, Zambia)
Cover Design: A+S Graphics
Printed by Monterey (Ndola, Zambia)
 Producer: Billie David Nyati
Executive Producer: Edward G. Khuzwayo

Tracklisting:
A1. Namwali
A2. I Don't Know
A3. Messed Day
A4. Promotion
B1. My Dear Girl
B2. Mukaziwa Chingoni
B3. Mad Man
B4. Come Back To Me
B5. E Zambia

Liner Notes:

Mike and Peter are the original members of The Born Free, after disbanding in 1973. Banza joined the group in 1974. They performed as a group of three at Lusaka’s Kilimanjaro Pleasure Resort, and many other venues. Joseph joined the group in early 1975, to make the group complete. Up to date the four have been a very close unit. The Group express deep and sincere thanks to Mr E.G. Khuzwayo for his assistance in the making of this L.P., their thanks to Mr C. Nherera who organized this recording. – Billy David Nyati

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.

WITCH - In The Past

ZAMBIA MUSIC PARLOUR | ZMPL 7 | 1974

Lead Vocals: Emmanuel “Jagari” Chanda
Drums: Boyd “Star MacBoyd” Sinkala
Bass Guitar: Gedeon “Giddy King” Mwamulenga
Rhythm Guitar & Vocals: John “Music” Muma
Lead Guitar & Vocals: Chris “Kims” Mbewe
Keyboard: Paul “Jones” Mumba

Recorded at Malachite Studios (Chingola, Zambia)
All Songs Arranged by WITCH
Executive Producer/Manager: Phillip Musonda
Originally Released by WITCH Records in 1974
Acquired & Reissued by Zambia Music Parlour in 1974
Musical Producer/Director for Zambia Music Parlour: Edward Godfrey Khuzwayo

Tracklisting:
A1. Living In The Past
A2. Young Lady
A3. Chance
A4. It's Alright
A5. I've Been Away
B1. I Like The Way I Am
B2. The Only Way
B3. Smiling Face
B4. She Is Mine
B5. Mashed Potato

Now-Again Records:

Zamrock was born in the ’70s in Southern Africa. Merging hard rock, psychedelia and funk, this Zambian genre was influenced by artists as diverse as Black Sabbath, James Brown and The Rolling Stones. WITCH – which stood for “We Intend To Cause Havoc” – was one of the scene’s major bands, and its approach varied over the course of its existence. This album is the second of the band’s two self-produced releases. A midtempo chug carries “The Only Way,” where vocalist “Jagari” Chanda brings some garage-band edge to his vocals. “Mashed Potato,” an appealing mix of low-key James Brown stylings and rock ‘n’ roll, wraps things up.

Strawberry Rain Music:

Maybe the most mellow WITCH offering. First few songs are somewhat folk/bluesy in nature. The rest is kind of beat/garage sounding, but nothing as heavy as Introduction. Still for me it’s a nice change, and when you look at WITCH through their overall discography you can’t help but appreciate their music. While I’m not a fan of the final two albums (I’ve never really taken to disco or modern soul), I have to say that they managed to stay consistent, while still offering a somewhat unique experience across each album. Introduction was the garage album, Lazy Bones! the psychedelic offering, In the Past the folk/blues offering, Lukombo Vibes the progressive offering, there is also a hard rock/pop album and maybe the last decent offering from a rock perspective, and the two final albums are disco/soul in nature. Highlights are “Young Lady,” “I Like The Way I Am” and “It’s Alright.” The rest is similar to Introduction with more of a twangy rural guitar this time as opposed to fuzz. Great stuff.

THE PEACE - Black Power

ZAMBIA MUSIC PARLOUR | ZMPL 6 | 1974

Lead Guitar & Vocals: Teddy Makombe
Rhythm Guitar: John “Music” Muma > Bruce Kaunda
Bass: “Stuggy” Joe Kunda > Gideon Mulenga > Saul Manda
Drums: George “Groovy Holy Joe” Kunda > Brower Machuta

Recorded at Malachite Studios (Chingola, Zambia)
Studio Manager: G. Phiri
Musical Director/Producer: Edward Khuzwayo
Recording Director: E.E. Mulemena
Engineer: G.K. Kachusha
Jacket Design: A+S Graphics (Ndola, Zambia)

Tracklisting:
A1. Black Power
A2. I Have Got No Money
A3. This Is The Time Now
A4. I Need Mercy
A5. Peaceful Man
B1. Ubwalwa Ne Chamba
B2. I Don't Know
B3. Get On The Way

Ben Phiri (Times of Zambia):

They were first christened the Boy Friends and a couple of years later transformed into a rampaging group whose beat pointed to Zamrock, which rattled the local scene from the onset in the 1970s. It was not an amateur group but a band of youngsters born with zeal to paint the local entertainment arena in Kitwe and the rest of the Copperbelt red. That was how wild they were!

Leonard Koloko (Zambia Music Legends):

Here is a band with strong roots from the famous Chamboli Township, where most of the members were groomed. They were led by Teddy Mokombe on lead vocals and guitar and churned out their debut album Black Power in the mid 70s. It was produced and directed under Zambia Music Parlour and recorded at Malachite Studios in Chingola.

WITCH - Introduction

ZAMBIA MUSIC PARLOUR | ZMPL 5 | 1974

Lead Vocals: Emmanuel “Jagari” Chanda

Drums: Boyd “Star MacBoyd” Sinkala

Bass Guitar: Gedeon “Giddy King” Mwamulenga

Rhythm Guitar & Vocals: John “Music” Muma

Lead Guitar & Vocals: Chris “Kims” Mbewe

Keyboard: Paul “Jones” Mumba

Recorded at Malachite Studios (Chingola, Zambia)

All Songs Arranged by WITCH

Executive Producer/Manager: Phillip Musonda

Originally Released by WITCH Records in 1972

Acquired & Reissued by Zambia Music Parlour in 1974

Musical Producer/Director for Zambia Music Parlour: Edward Godfrey Khuzwayo

Tracklisting:
A1. Introduction
A2. Home Town (Instrumental)
A3. You Better Know
A4. Feeling High
A5. Like A Chicken
B1. See You Mama
B2. That's What I Want
B3. Try Me (Instrumental)
B4. No Time

Leonard Koloko (Zambian Music Legends):
“We intend to cause havoc!” so they declared. The declaration “acronymed” to WITCH and throughout their existence on the local music scene they wreaked havoc and bewitched many fans into following them en masse wherever they played and on every record they released. The group originated from the famous Chamboli Mine Township in Kitwe. Renowned for notorious activities, Chamboli was one place where gangster life ruled and social life thrived with many teeny-bopper backyard bands in various sections.

Now-Again Records:
The opening title track finds vocalist “Jagari” Chanda introducing the band over a churning garage-rock groove decked out with organ riffs; the group turns this standard trope into an exciting track. Check out the funky rock ‘n’ roll drums and rhythm guitar on “That’s What I Want,” a cut that also features a delightfully dirty guitar solo. (The lead playing is a wonder throughout). “No Time” has an itchy guitar riff, nasty lead work, and tense, propulsive bass.