‘In 1972, the country of Rhodesia — as Zimbabwe was then known — was in the middle of a long-simmering struggle for independence from British colonial rule. In the hotels and nightclubs of the capital, bands could make a living playing a mix of Afro-Rock, Cha-Cha-Cha and Congolese Rumba. But as the desire for independence grew stronger, a number of Zimbabwean musicians began to look to their own culture for inspiration. They began to emulate the staccato sound and looping melodies of the mbira (thumb piano) on their electric guitars, and to replicate the insistent shaker rhythms on the hi-hat; they also started to sing in the Shona language and to add overtly political messages to their lyrics (safe in the knowledge that the predominantly white minority government wouldn’t understand them). From this collision of electric instruments and indigenous traditions, a new style of Zimbabwean popular music — later known as Chimurenga, from the Shona word for ‘struggle’ — was born. And there were few bands more essential to the development of this music than the Hallelujah Chicken Run Band…’
Their biggest hits — along with several rare tracks — recorded between 1974 and 1979.

‘From the trios of pianists Kyle Shepherd, Bokani Dyer and Yonela Mnana, to the genre-defying exploits of guitarists Vuma Levin and Reza Khota; and from artists inspired by age-old traditions, like Lwanda Gogwana and Mandisi Dyantyis, to the cosmic explorations of Siya Makuzeni, Benjamin Jephta, Thandi Ntuli, Zoë Modiga and Shane Cooper’s Mabuta’  — Johannesburg label Afrosynth rounds up some of SA’s most talented young composers and bandleaders, as well as a wider cast of supporting musicians.

Ritchie McDonald from the Chosen Few rides Glen Brown’s stunning Dirty Harry rhythm.
Dark, haunted, portentous singing — a dream-like blend of Barry White and Keith Hudson — over some of the heaviest, most concussive reggae music of all time.
On the flip, Tommy McCook props up the body and kills it again.
Almighty, off-the-scales roots. Completely unmissable.

“Tune into the king of sounds and blues, that you will never refuse, you gots to pick and choose before you lose. On the Pantomine label. Crossroads, Caledonian Place, you know where. Do it to it, Gods Sounds, y’know.”

Bassist Dezron Douglas and harpist Brandee Younger doing over Alice and John Coltrane, The Stylistics, The Jackson 5, Pharoah Sanders, Kate Bush, Sting, and The Carpenters.
Douglas has worked with Pharoah Sanders and David Murray, amongst other jazz notables; Younger with Charlie Haden, Stevie Wonder, Lauryn Hill… Both are featured on Makaya McCraven’s Universal Beings.
‘It’s an uplifting suite of real, soulful comfort music — a spiritual salve.’

Ace, driving, digital roots, with a lethal dub.
Reggae veteran Dennis Fearon lends a hand.

Sensational French-language do-over of the 45 Faybiene had recently cut for Jack Ruby (following up her hit Prophecy), before moving in 1977 from Kingston to Montreal with Joe Cooper (who plays organ on Police & Thieves).
Zonked, sublime and rugged like Half Moon in Toronto, with a crazy whistling effect throughout, and spaced-out dub.
Bim.

Faybiene Miranda was one of a kind — a Joni Mitchell fan from Panama City who co-published with Mutubaruka. Soon after Tropical Energy broke up she toured the UK with Benjamin Zephaniah, reading her poetry. Before her death in 2013 she was living in Brooklyn, amongst Steel Pulse crew.