In the realm of South African music, the stories of influential musicians often surface through intensive academic research or the relentless pursuit of dedicated fans or relatives. While academic studies benefit from institutional support, personal accounts are enriched with undocumented intimate details. However, both approaches have drawbacks, with academic research potentially missing crucial undocumented elements, and personal accounts prone to hero-worship and imperfect recollection.
“The Life and Times of the Soul Brothers” by Sydney Fetsie Maluleke beautifully marries these two approaches. As a university-educated researcher deeply embedded in fan culture, Maluleke brings a unique perspective, administering the band’s Facebook page and hailing from a family even more fervent in their adoration of the legendary band. The second edition of this book is a harmonious combination of scholarly rigor and personal passion, steering clear of the pitfalls of both genres.
The Soul Brothers, established in the mid-1970s in KwaZulu-Natal province, by the late vocalist David Masondo and keyboardist Black Moses Ngwenya, reshaped the landscape of South African mbaqanga music. This genre, blending traditional African vocal styles with western pop influences, surged from a predominantly Zulu-speaking fanbase to dominate Black South African music charts for over a decade. The band’s pioneering approach, incorporating diverse influences at a time when apartheid sought to divide, set new standards in the industry.
Despite their last studio recording being over a decade ago, Soul Brothers’ music continues to resonate through radio airplay and remains a staple at social gatherings. The band’s groundbreaking fusion of Zulu close-harmony vocals, guitar work, and Ngwenya’s soulful keyboard marked a significant milestone in mbaqanga history, akin to Ray Charles’ impact on American rhythm and blues with the introduction of the electric piano. Furthermore, their defiance against exploitation led to the establishment of their own label and studio, cementing their status as trailblazing Black music entrepreneurs in South Africa.
Maluleke’s narrative, although primarily articulated “through the eyes of Black Moses,” goes beyond mere storytelling. It intricately weaves diverse perspectives, sources, and interpretations, instilling a profoundly human touch. The thematic organization, although occasionally meandering, captures the essence of passionate conversations, offering a comprehensive understanding of the Soul Brothers’ journey.
The revised edition delves deeper into the band’s setbacks and internal disputes, providing a balanced portrayal of their professional facade juxtaposed with backstage conflicts. Maluleke’s intimate access to a treasure trove of archival materials, including press clippings and photographs, enriches the storytelling, offering a visual dimension to the band’s legacy. Furthermore, the book unravels hitherto unexplored narratives, depicting the cultural tapestry of South African townships and the symbiotic relationship between music and community life.
Amidst its strengths, the book faces criticisms due to the limitations of a modest budget. Typographical errors, inconsistent use of italics, and outdated date references slightly diminish the reading experience. However, these shortcomings pale in comparison to the significance of Maluleke’s narrative, which fills a crucial void in South African music history and warrants gratitude from music enthusiasts seeking to comprehend the genesis of the “indestructible sound of Soweto.”
Sydney Fetsie Maluleke’s unyielding determination to chronicle the Soul Brothers’ legacy has triumphed, offering readers an indispensable entry point into South Africa’s rich musical heritage.
Gwen Ansell,
Associate of the Gordon Institute for Business Science, University of Pretoria
