Moses Mchunu

Trackimage Playbut Trackname Playbut Trackname
Qhwahilahle 04:20 Tools
Qhwayilahle (Leave Him Alone) 00:00 Tools
Qhwayilahle [Leave Him Alone] 04:18 Tools
Qhwayilahle - Moses Mchunu 04:18 Tools
Angeke Ngilale Ezintabeni 02:41 Tools
Qhwahilahe (Leave Him Alone) 04:18 Tools
Inkunzi Emnyama 02:53 Tools
Magugu Omhlaba 02:45 Tools
Sambamba 03:05 Tools
Lishonile Ilanga 02:53 Tools
Leave Him Alone 04:18 Tools
Emzini Bakhala Ngawe 02:27 Tools
Ekhweni Lami 02:43 Tools
Ngibuyile Baba 02:39 Tools
Amagama 02:44 Tools
Kuhle Ukuzenzela 02:41 Tools
Sibanqoba ngamunye 02:41 Tools
Ohwahilahe (Leave Him Alone) 02:41 Tools
Usuthu 03:45 Tools
Uyayibona lentombi 02:28 Tools
Kabulala umuzi ka baba 02:35 Tools
Usitshela amaganyana 02:35 Tools
Kulezo ntaba 02:35 Tools
Yashisa igugu intombi yami 02:41 Tools
Ngizula Nomhlaba 02:29 Tools
Sibongile 02:35 Tools
Impi Yomgangela 03:46 Tools
Hambani Niyokweshela 03:57 Tools
Zophela i'mpondo zenyanga 03:57 Tools
Musukukhala 03:57 Tools
Siyavuma 02:35 Tools
Qinisa Mkhiza 02:28 Tools
Gijima mfana 02:28 Tools
Yekelani inzondo 02:28 Tools
Umona usuka esweni 03:57 Tools
Izulu Lezandla 04:56 Tools
Angeke Ngilale Ezintabeni (I Won't Sleep In The Mountains) 03:57 Tools
Woza Uhlale Nami 04:56 Tools
Okomkami Lokho 04:56 Tools
Uphumaphi Wena 04:56 Tools
Nginjenje Njena 04:56 Tools
Angeke Ngilale Ezintabeni (I Won't Sleep in the Mountains) [South Africa / Zulu] 04:56 Tools
Qhwayilahle / Leave Him Alone 04:56 Tools
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'60s Africa found the Zulu and Sotho beginning to incorporate the influences of African American R&B, jazz, and blues into their traditional, indigenous music. New styles such as township jazz, pennywhistle street music, Kwela, and marabi were formed. Eventually, these myriad styles coalesced to create a new hybrid pop music that came to be known as mbaqanga. Though mbaqanga employs the traditional instrumentation of Western pop (guitar, bass, drums, keyboards, and vocals), the approach to song structure and rhythmic, melodic, and harmonic phrasing is uniquely African. Recorded between 1981 and 1984, THE INDESTRUCTIBLE BEAT OF SOWETO is the first (and arguably the best) of a slew of South African pop recordings that soon followed. Characterized by insistent, rhythmically complex beats, elastic, burbling basslines, tight, ska-sounding guitar accompaniment, and thick, multi-part vocals, this music is as intriguing as it is appealing. Groups with such names as Udokotela Shange Namajaha and Amaswazi Emvelo serve up bright, infectious melodies and percussively insistent tracks that are clearly intended for dancing. Though this "pop" may at first seem strange to Western ears, repeated listens reveal its true nature: rich, individual, joyous, and simply wonderful music. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.