Mahlathini and the Mahotella Queens
| Company type | Musical ensemble |
|---|---|
| Industry | Music |
| Founded | 1964 |
| Founder | Rupert Bopape |
| Headquarters | Johannesburg , South Africa |
Area served | South Africa, international |
Key people | Simon "Mahlathini" Nkabinde, Hilda Tloubatla, Nobesuthu Mbadu, Mildred Mangxola, Marks Mankwane, West Nkosi |
| Products | Music albums and singles in mbaqanga genre |
Mahlathini and the Mahotella Queens—also referred to as Mahlathini Nezintombi Zomgqashiyo or Mahlathini and the Girls of Mgqashiyo—were a prominent South African mbaqanga ensemble established in 1964 by talent scout and producer Rupert Bopape at Johannesburg's Gallo Recording Company. Their distinctive sound emerged from the fusion of three principal components:
- The late Simon "Mahlathini" Nkabinde (1937–1999), renowned for his deep basso-profundo "groaning" vocal style.
- The female vocal group Mahotella Queens (active since 1964), featuring the classic lineup of Hilda Tloubatla, Nobesuthu Mbadu, and Mildred Mangxola, celebrated for their intricate harmonies, guitar-driven mbaqanga rhythms, and vibrant stage performances.
- The instrumental ensemble Makgona Tsohle Band (1964–1999), mbaqanga innovators led by guitarist Marks Mankwane and saxophonist West Nkosi.
Their collaboration yielded substantial commercial success and made them a leading live act across South Africa from 1964 through 1972. After reuniting in 1986–87, they attained international acclaim, notably following a performance at a Nelson Mandela tribute concert in London in 1988, continuing active touring worldwide throughout the 1990s.
Formation in 1964
During the apartheid era, South Africa's major record companies were predominantly white-owned, restricting opportunities for black musicians. Legislative measures like the Land Act of 1913 and the Group Areas Act of 1950 severely limited tribal integration and urban settlement for black artists, curtailing their access to broader audiences. Black performers encountered obstacles in reaching white listeners and securing radio exposure for genres influenced by American music.
To address this gap, Gallo Africa launched Mavuthela Music Company in 1964, dedicated to producing music tailored for South Africa’s black population under the leadership of Rupert Bopape, formerly with EMI South Africa. Bopape had previously achieved success managing acts such as Alexandra Black Mambazo and the Dark City Sisters. At Mavuthela, he revitalized acoustic African popular styles by electrifying instruments, incorporating mixed-gender groups, and infusing township rhythms—giving rise to mbaqanga, a genre embraced by urban black communities.
Bopape assembled Mahlathini and the Mahotella Queens by blending three distinct elements: Mahlathini’s signature deep groaning vocals; the Mahotella Queens’ female vocal ensemble drawn from talents including Hilda Tloubatla, Mildred Mangxola, Nobesuthu Mbadu, among others; and the Makgona Tsohle Band, comprised of former domestic workers from Pretoria—West Nkosi on saxophone, Marks Mankwane on lead guitar, Joseph Makwela on bass, Vivian Ngubane on rhythm guitar, and Lucky Monama on drums. Over time, their horn section expanded with additional musicians contributing to their characteristic sound.
Early professional years
Faced with minimal earnings and scarce radio airplay, black South African musicians often performed outside record shops to attract listeners. The group initially distributed limited quantities of their early recordings on 78 rpm records while performing street shows. They went on to record hundreds of successful singles. Throughout the late 1960s into the early 1970s, Mahlathini and the Mahotella Queens dominated South Africa’s music scene with numerous hits—from their debut Orlando Train to tracks like Uyavutha Umlilo, Sengikala Ngiyabeleka, Thoko, and Izulu Liyaduduma. These popular singles were compiled into albums including Meet the Mahotella Queens (their first LP), Indoda Mahlathini, Marena, Marks Umthakathi, and Umculo Kawupheli.
Their commercial triumph was driven by Mahlathini’s groaning vocals complementing the Queens’ harmonies alongside the energetic mbaqanga-township jive performed by Makgona Tsohle Band. They toured extensively within South Africa as well as neighboring countries such as Mozambique, Botswana, and Zimbabwe. Their distinctive recordings coupled with lively concerts earned them the nickname "The Beatles of South Africa."
The supergroup comprising Mahlathini, the Mahotella Queens, and Makgona Tsohle remained a prolific recording and performing unit until 1972 when disputes over royalties with producer Rupert Bopape led to their disbandment. Subsequently, under guitarist Marks Mankwane’s production guidance, the Mahotella Queens continued recording with moderate success into the late 1970s and early 1980s but eventually lost all original members due to royalty conflicts and family obligations. Mahlathini pursued solo endeavors supported by Makgona Tsohle, establishing himself as Indoda Mahlathini, though he also departed from Mavuthela over payment disagreements. Makgona Tsohle released acclaimed instrumental singles before disbanding as members shifted focus to producing other artists within Mavuthela.
As disco music surged in popularity across South Africa during the early 1980s, mbaqanga's prominence diminished. In 1983, Marks Mankwane reunited Mahlathini with five original Mahotella Queens for a side project named Mahlathini Nezintombi Zomgqashiyo; however, this formation lasted only about a year. While Mankwane continued producing Mahotella Queens material, Mahlathini joined Amaswazi Emvelo—a Swazi mbaqanga trio produced by West Nkosi—which was among the few mbaqanga groups still achieving commercial success at that time.
International acclaim
In 1983, British producer Malcolm McLaren introduced the groundbreaking album Duck Rock, which merged a variety of musical styles and featured uncredited contributions from Mahlathini and the Mahotella Queens. While some viewed it as exploitative, the album was instrumental in bringing what would later be recognized as world music to a broader global audience. Over time, Western artists began integrating elements of world music into their own compositions.
Following the success of South African international releases such as The Indestructible Beat of Soweto and Paul Simon’s Graceland between 1986 and 1987, Mahlathini and the Mahotella Queens reunited. Under the guidance of producer West Nkosi, Marks Mankwane was convinced to oversee production, and original members Hilda Tloubatla, Nobesuthu Mbadu, and Mildred Mangxola rejoined the Queens. Together with Mahlathini and the Makgona Tsohle Band, they launched Thokozile, aimed at global audiences. The album’s success sparked extensive worldwide tours, including a prominent debut at the Angouleme Festival in France and the creation of the Paris - Soweto record.
Marks Mankwane returned to his role as producer and lead guitarist for the ensemble. In June 1988, Mahlathini and the Mahotella Queens performed alongside renowned artists such as Stevie Wonder and Peter Gabriel during Nelson Mandela’s 70th birthday celebration in London. This event was broadcast to 60 countries, amplifying Mandela’s international campaign and broadening the group’s fan base. In 1989, they appeared at Glastonbury Festival and collaborated with the synthpop group Art of Noise on three tracks for their album Below The Waste. Their track Kazet became especially popular in France.
After West Nkosi departed in 1991 to concentrate on South African projects, the supergroup embarked on extensive tours throughout the United States, Europe, Asia, and Australia. They performed at major venues including Central Park before an audience of half a million, as well as prestigious events like the Montreux Jazz Festival and WOMAD festivals. Their discography expanded with successful albums such as Mbaqanga, Rhythm and Art, Umuntu, culminating in their 30th anniversary release Stoki Stoki, which Shanachie Records issued internationally in 1996.
Mahlathini’s final live appearance occurred in 1997 due to complications from diabetes. The subsequent deaths of West Nkosi and Marks Mankwane in 1998, followed by Mahlathini’s passing in 1999, marked a significant shift for the group. Despite their global recognition, Mahlathini died in poverty. After a period of mourning, the Mahotella Queens regrouped with new musicians and resumed recording and performing.
Their 2000 release Sebai Bai, dedicated to Mahlathini, Mankwane, and Nkosi, received positive international acclaim. That same year, they were honored with the WOMEX Award for exceptional contributions to world music. Later albums included Bazobuya (2004) and Reign & Shine (2005). The Queens supported Ladysmith Black Mambazo on a UK tour during 2005–06, headlined WOMAD in 2006, toured Europe (2007), South Africa (2007–08), participated in Pee Wee Ellis’s James Brown tribute show in 2010, and joined South African jazz icon Hugh Masekela for a UK tour in November 2010.
Artistry
The Makgona Tsohle Band and its members played a pivotal role in the creation and performance of Mbaqanga (pronounced mm-bah-KAHNG-guh), a hybrid musical genre that emerged from 1950s South Africa. Mbaqanga fuses elements of traditional Zulu, Sotho, Shangaan, and Xhosa music with Marabi (a form of South African jazz), Kwela, electric instrumentation, and influences from American R&B, soul, and gospel. The genre's hallmark is its cyclical marabi framework combined with the traditional Zulu indlamu dance rhythm, which together produced the distinctive "African stomp" beat that defines its vibrant pulse. The vocal technique associated with mbaqanga is known as "mgqashiyo," meaning "to bounce," which aptly describes its energetic rhythmic style. Marks Mankwane of Makgona Tsohle described their approach as integrating Western drums and guitars to accelerate the tempo for danceability, layering harmonies provided by the Mahotella Queens, and spotlighting Mahlathini’s deep "goat voice" as the lead.[1]
Chris Heim from the Chicago Tribune characterized mbaqanga as one of the most exuberant and joyful musical styles globally, commending the band’s "sweet, soulful sound" highlighted by the bright vocals of the Queens and Mahlathini’s resonant lead singing.Cite error: The opening <ref> tag is malformed or has a bad name Throughout their career, the band’s sound evolved: during the 1960s Mahlathini performed alongside the Queens, while in the 1980s producers West Nkosi and Marks Mankwane emphasized his vocal interjections layered over the Queens’ melodies. Mahlathini’s basso profundo “groaning” technique contrasts effectively with the Queens’ smooth harmonies—an innovative fusion reminiscent of American jazz vocal ensembles blended with indigenous South African music.[2] In his critique of Thokozile, Robert Christgau recognized guitarist Marks Mankwane and saxophonist-producer West Nkosi for delivering "professional dance music at its finest and roughest."Cite error: The opening <ref> tag is malformed or has a bad name
Key lyricists included Mahlathini, Hilda Tloubatla, Marks Mankwane, Rupert Bopape, and Shadrack Piliso.Cite error: The opening <ref> tag is malformed or has a bad name Their predominantly Zulu lyrics often explored social topics such as child-rearing and marital relationships; although not explicitly political, some songs subtly addressed apartheid struggles or celebrated Nelson Mandela.Cite error: The opening <ref> tag is malformed or has a bad name
The band’s visual presentation was striking, utilizing tribal motifs to strengthen their image: Mahlathini wore traditional chief attire featuring leopard skin and beadwork, while the Mahotella Queens sported large red Zulu hats paired with leather skirts, bead decorations, leotards, and sneakers.Cite error: The opening <ref> tag is malformed or has a bad name Their choreography combined Motown-inspired moves with tribal dance steps and cheerleading routines. Even into their senior years during the 1990s, they maintained dynamic synchronized performances. This blend of vocal harmony and dance earned them comparisons to a Zulu counterpart of the Supremes decades later.Cite error: The opening <ref> tag is malformed or has a bad name
Selected discography of albums
During their peak periods in the 1960s and 1970s, Mahlathini and the Mahotella Queens together with the Makgona Tsohle Band were prolific recording artists at Gallo-Mavuthela, producing hundreds of tracks. However, much of their earlier work is no longer commercially available; most accessible albums date from the late 1980s forward and were aimed at international audiences.
| Title | Label/catalogue | Release year |
| Buya Buya: Come Back | Umsakazo Records (UM 108) | 2025 |
| Siyadumisa | Bula Music/AS Entertainment (CDBULA 203) | 2007 |
| Mahlathini and the Mahotella Queens: The Hits | Gallo Record Company (GMVCOM 1007) | 2006 |
| Reign & Shine | Wrasse Records/AS Entertainment (WRASS177) | 2006 |
| Kazet | Marabi Productions/AS Entertainment | 2005 |
| Reign & Shine | African Cream Music/AS Entertainment (ACM-CD 042) | 2005 |
| Bazobuya | Gallo Record Company (GWVCD 53) | 2004 |
| The Best Of: The Township Idols | Wrasse Records (WRASS098) | 2003 |
| Sebai Bai | Harmonia Mundi/Label Bleu/Gallo (LBLC 2571) | 2001 |
| Umuntu | Gallo Record Company (CDGMP 40788) | 1999 |
| Stoki Stoki | Gallo Record Company (CDGMP 40539) | 1994 |
| Women of the World | Gallo Record Company (CDGMP 40331) | 1993 |
| King of the Groaners | Earthworks/Stern's | 1993 |
| The Lion Roars | Shanachie Records | 1993 |
| Mbaqanga | Gallo Record Company (BL 742) (South Africa) Verve World/PolyGram Records (511 780) |
1991 |
| The Best of Mahlathini and the Mahotella Queens | Gallo Record Company (CDHUL 40274) | 1991 |
| Rhythm & Art | Gallo Record Company | 1989 |
| Melodi Yalla | Gallo-GRC (BL 617) | 1988 |
| Paris - Soweto | Gallo-GRC (HUL 40314) | 1987 |
| The Lion of Soweto | Earthworks/Stern's | 1987 |
| Thokozile | Gallo-GRC (BL 590) | 1987 |
| Menate Ea Lefatse | CCP Record Company | 1987 |
| Indodemnyama | Gallo-GRC | 1987 |
| Ejerusalem Siyakhona | Gallo-GRC | 1986 |
| Utshwala Begazati | Gallo Record Company | 1985 |
| Dithoriso Tsa Morena | Gallo Record Company | 1984 |
| Pheletsong Ya Lerato | Gallo Record Company (Gumba Gumba BL 457) | 1984 |
| Khwatha O Mone | Teal Record Company (Hit Special IAL 4005) | 1984 |
| Kotopo Vol 2 | Gallo Record Company (Spades BL 460) | 1983 |
| Mathaka Vol 1 | Gallo Record Company (Spades BL 461) | 1983 |
| Amaqhawe Omgqashiyo | Gallo Record Company (Gumba Gumba BL 448) | 1983 |
| Uhambo Lwami | Gallo Record Company (Motella BL 396) | 1983 |
| Tsa Lebowa | Teal Record Company (Igagasi IAL 3096) | 1983 |
| Hamba Minyaka | Gallo Record Company (Gumba Gumba BL366) | 1982 |
| Ezesimanje | Teal Record Company (Hit Special IAL3034) | 1982 |
| Pitsa Tse Kgolo | Teal Record Company (Hit Special HIL2004) | 1982 |