Colours To My Dreams

This mix opens with a recent cover version of “Sugar Man” by South African singer Rebekah Thompson.

This version plays under the closing credits of the 2019 film “Moffie” which is about a young man drafted into South Africa’s military, but he knows he is different and must keep himself hidden.

1. Sugar Man (from Moffie) – Rebekah Thompson
2. Heart Of Glass (Crabtree remix) – Blondie & Philip Glass
3. Adagio In G Minor – The Doors
4. Oblivion – M83 feat Susanne Sundfør
5. The Black Page #1 (piano version) – Ruth Underwood
6. Love Scene (from Zabriskie Point) – Richard Wright
7. The Rains Of Castamere (from Game Of Thrones) – Ramin Djawadi & Serj Tankian
8. Skyrim (Dragonborn) – Tina Guo
9. Sweet Dreams (Are Made Of This) – Emily Browning
10. Chasing The Dragon – Epica
11. Nymphetamine (Fix) – Cradle Of Filth feat Liv Kristine
12. Crazy In Love (2014 version) from Fifty Shades Of Grey – Beyoncé
13. Tomorrow Never Knows (from Sucker Punch) – Alison Mosshart & Carla Azar
14. Oh! Darling – Peachy Keen
15. Sugar Man – Barbara Moleko

The Songs of Rodriguez

“…Climb up on my music and my songs will set you free…”

Originally appeared on SugarMan.org

Sugar Man

Probably Rodriguez’s most well-known song. Rodriguez himself is also often referred to as The Sugar Man. A great song with superb instrumentation. This slow bluesy rock song is a paean to his drug dealer, however Rodriguez said on a TV interview in March 1998 that this song is “descriptive not prescriptive”. Great imagery and use of hippy slang, like “silver magic ships” and “sweet Mary Jane”, ensure the listeners’ interest. The psychedelic freak-out section in the middle reminds me of similar sections in Led Zeppelin’s ‘Whole Lotta Love’ and Uriah Heep’s ‘Gypsy’.
– Brian Currin, 1998

Cold Fact” opens with the ultra trippy Sugar Man, which may well have been straight out of an acid trip. “Sugar man met a false friend on a lonely dusty road, lost my heart, when I found it, it had turned to dead black coal” suggests just where exactly the inspiration came from as he goes on to list jumpers, coke and sweet Mary Jane. More than any other Rodriguez song, it is Sugar Man which personifies the artist in the minds of those who have always wondered. The eerie moog synthesizer, whistling in the background, the lazy and simple guitar chords and the dreamy nasal voice place the listener firmly in an era of fantasy. It sets a perfect tone for the album and the myth.
– Andrew Bond, 1998

I’m not for drugs, I never advocated drug taking
– Rodriguez, March 1998

What’s that song about anyway?
– Rodriguez, 22 September 2001

This track was the first encore song on the 1998 South African tour. It was preceded by much chanting of “Su-gar Man, Su-gar Man…”. Were we calling for the song or the Man? Who knows, but he came and he sang and we loved it.

South African band Just Jinger also did a great cover of this song on their March 1998 EP “Something For Now”.

There have also been cover versions recorded by American band The Monkey Wrench and Australian band Stella One Eleven.

Kris Kristofferson recorded a completely different song called “Sugar Man” in 1972. Released on the “Jesus Was A Capricorn” album.

In 1991 The Escape Club also recorded a song titled “Sugar Man” (no relation to the Rodriguez song) on their “Dollars And Sex” CD.

In 2001 Rapper Nas sampled “Sugar Man” for his “You’re Da Man” track off “Stillmatic”.

In the December 2002 issue of UK music mag, MOJO, in the list “The 100 Greatest Drug Songs Ever!” “Sugarman” was at number 34.

You’d Like To Admit It

Extremely rare b-side of a seven single recorded in 1967 and credited to Rod Riguez.

I Wonder

This classic folk-rock song is the one that most people seem to associate with Rodriguez. Used as the show opener on the 1998 and 2001 SA tours. Simple in composition but penetrating in it’s lyrics.

It came as no surprise then that when “Cold Fact” hit the record racks, it became a hit, simply because it contained a phrase which would muddy the country’s sexually chaste waters and serve as a mantra to the youth: I wonder, how many times you’ve had sex…
– Craig Bartholomew, 1997

Generation EXT’s slow hip-hop rap version of I Wonder was released on the compilation CD “Dance Connexion 17” in September 1998.

Only Good For Conversation

Classic fuzz metal guitar riff by Dennis Coffey opens this song, reminds me of Deep Purple’s ‘Smoke On The Water’. A harsh bitter song of lost love (..you’re the coldest bitch I know..), this track really rocks! Great bass line and a superb guitar solo.
– Brian Currin, 1998

Climb Up On My Music

My favourite Rodriguez song and also one of my all-time favourite songs. Brilliant title and great lyrics. Excellent rock guitar from Chris Spedding and jazzy piano (by Phil Dennys?) make this song a classic. Wonderful production by Steve Rowland and superb stereo imaging.
Listen to it!!

When performed live on the 1998 South African tour this track became a classic rock song of anthemic proportions. Willem Möller’s guitar solo is one of my magic moments in music.
– Brian Currin, 1998

Sandrevan Lullaby

A wonderful instrumental duet for acoustic guitar and violin. Used as the intro for “Lifestyles”. Written by Rodriguez for his 2 daughters, Sandra and Eva. Sometimes mistitled as Sundrevan Lullaby.

…the musical part of Sandrevan Lullaby touches my heart (named after my sister Sandra and me)…
– Eva Rodriguez, 1997

Rehearsed for the 1998 SA tour, but not performed (I know ‘coz I was there!)
– Brian Currin, 1998

Rich Folks Hoax

Great song, what more can I say – listen to the words.

Craig Bartholomew told me that in 1987 when he was busking his way around Spain, this song received the best response, and the most money into his open guitar case!

Covered by Amanda Strydom in September 2003.
– Brian Currin, 2003

Hate Street Dialogue

Not written by Rodriguez, but sure sounds like it could have been. “Hate Street Dialogue” actually refers to the famous “Haight/Ashbury” area of San Francisco, the famous Hippie hang-out during the late 60s “Summer Of Love”.

…for years the title Hate Street Dialogue has been bothering me, when I listened to the song I gathered the lyrics were referring to the famous hippie street in San Francisco: Haight/Ashbury, however the title on the album is spelt “Hate”. Rodriguez said (on a South African radio phone-in show in March 1998) that although the lyrics of that particular song were not written by himself they did refer to the Haight and not to the opposite of love.
– Stelios, 1998

Read the full amazing story of Hate Street Dialogue.

Jane S Piddy

Could this be “Janis Pity” – a sort of tribute to Janis Joplin? Read the lyrics and see the similarity to Janis and her lifestyle. Lyrics like “now you sit there thinking, feeling insecure…” and “…don’t bother to buy insurance, coz you’ve already died…”. Great imagery and biting prose. Read more about this song and ‘Like Janis’.

To Whom It May Concern (1979 live version)

A wonderful, almost progressive rock version with jazz-blues flute and even a bass solo. Recorded in Australia in 1979. This track is over 8 minutes long and the band is introduced on this song.
Really great version.

Heikki’s Suburbia Bus Tour

After a conversation with my father, I wanted to share a short story…

In the sixties, there were these people called hippies. It can be said that a long hair, dark skin, free thinking musician, like Rodriguez could have been labelled one. In my youth, I recall hearing about how the “rich folks” (those living in the suburbs), would come down to the inner city of Detroit to actually see these “oddities” in their natural environment. Maybe even take a picture or two. This happened to be my neighborhood and some of my people.

Rodriguez had a very good friend named Heikki. I remember a large man with long blond/brown hair. He had a very nice home, a wife named Linda and two huge bull mastiff dogs. Despite stereotypes, Heikki was a mathematician from “Estonia” (Estonia is a republic in North-Eastern Europe, near Finland) who rode a classic motorcycle. In fact, one of the places that Rodriguez played, a “motorcycle funeral”, was for one of Heikki’s friends. The motorcycle club was called “The Penetrators”.

Anyway, someone had made fun of Rodriguez’s friend. Protective of Heikki’s feelings, Rodriguez organized what I consider to be a peaceful form of retaliation. A bus was chartered, full of hippies, four gallons of wine, etc. The group went to Grosse Point, Michigan and surrounding areas where they visited suburbian malls and neighborhoods on a tour of their own. The rest, is in the music. The story made the newspapers in Detroit and also reached Florida (a southern U.S. state).
– Eva Rodriguez, 1997

A Most Disgusting Song

In “A Most Disgusting Song” the people are like someone we all know. I think it was a depiction of a place Rodriguez played, a bar called “The Sewer” near the Detroit River, that was demolished a long time ago (In the song “Cause” Rodriguez speaks to Jesus (his brother?) at the Sewer). One of the places that Rodriguez played, a “motorcycle funeral”, was for one of Heikki’s friends. The motorcycle club was called “The Penetrators”.
– Eva Rodriguez, 1997

THE COLD FACTS ABOUT THE “COLD FACT” ALBUM

All you need to know, and maybe a lot more, about this classic album from 1970, that so many people missed the first time around.

All the facts at: http://sugarman.org/coldfact.html

Almost all South Africans know the album with the black cover, we didn’t even know about the white cover version until about 1997!

Cold Fact, South Africa 1971
Cold Fact, South Africa 1971
Cold Fact, USA 1970
Cold Fact, USA 1970

I’ll Slip Away by Rod Riguez in 1967

Originally appeared on SugarMan.org

  • I’ll Slip Away / You’d Like To Admit It (Impact 1031) August 1967 (USA)

Cash Box, September 23, 1967 Rod Riguez could make a name for himself with this bluesy, mid-tempo rock ballad. Keep it in sight. Flip: “You’d Like To Admit It”.

These 2 songs were released as a single in 1967 and credited to Rod Riguez. The lyrics for ‘You’d Like To Admit It’ were transcribed by Glenn Coggin in January 2005.

Both songs are available as bonus tracks on the digital download release of Cold Fact by Light In The Attic Records.

The 1967 version of I’ll Slip Away was released on The Best Of Impact Records CD (Collectables COL-5883) in November 1997. Also released as a bonus track on Sugar Man: The Best Of Rodriguez (South Africa) in September 2005.

The 1967 single features more upfront Byrds-type jangly guitar, vocal harmonies and a subdued organ in the background, when compared to the early 70’s version. The strings that are so prominent on the later version are absent on the 1967 version.

— Brian Currin

I’ll Slip Away was re-recorded in 1972/73 and released on the Australian At His Best album. It is available on the 2009 re-issue of Coming From Reality and the Searching For Sugar Man soundtrack.

Promo Single (from Discogs)

Single (from Discogs)

I’ll Slip Away: As far as the Rodriguez Impact single, “I’ll Slip Away” is concerned, I would highly suspect that both sides of that single were probably recorded at Terra Shirma Studios, since most of all of the later Impact records were recorded there. But it is possible that it may have been recorded at United Sound Studios in Detroit, since Harry Balk recorded many of his artists there as well.

The “B” side of the Impact 45, “I’ll Slip Away” is a song titled, “You’d Like To Admit It”. Both sides were produced by Harry Balk (the owner of Impact). To my knowledge, the record was only issued as a “promotional” 45, and not sold commercially to the public (see note below). The record is “near-impossible” to find, due to the fact that few copies were pressed, and Impact records went out of business shortly after the record was released. By the way, the song, “You’d Like To Admit It” was also written by Rodriguez.

I’m afraid that I can’t help you out with the lyrics to the song (read them here),”You’d Like To Admit It”, because I don’t own a copy of the single. In my many years of collecting records, I have only seen ONE copy of that record for sale, and it was much too expensive for me to buy. (IT WAS ABOUT $175.00 U.S. DOLLARS!)…

— Jerry Schollenberger, “Best of Impact Records” CD producer, May 1999
Single (from Discogs)

Read some more comments from Jerry Schollenberger

Read Tim Forster’s article about these Impact releases.

I can confirm that a regular (NOT a promo) release of Impact #1031 does exist. A speculation to the contrary exists on your Sixto R. page. Thanx for the info on this artist that you supplied; you have added to my enjoyment of record collecting, and listening.

— Steve Jones, Canada, August 2003

I’LL SLIP AWAY

And I’ll forget about the girl that said no
Then I’ll tell who I want where to go
And I’ll forget about your lies and deceit
And your attempts to be so discreet

Maybe today, yeah
I’ll slip away

And you can keep your symbols of success
Then I’ll pursue my own happiness
And you can keep your clocks and routines
Then I’ll go mend all my shattered dreams

Maybe today, yeah
I’ll slip away

Cause you’ve been down on me for too long
And for too long I just put you on
Now I’m tired of lying and I’m sick of trying
Cause I’m losing who I really am
And I’m not choosing to be like them

And if you get bored or got loneliness
Or it’s dislike for me you express
I won’t care if you’re right or you’re wrong
I won’t care cause you see I’ll be gone

Maybe today, yeah
I’ll slip away

Maybe today, yeah (I’ll slip away)
Maybe today, yeah
Maybe today, yeah
Maybe today, yeah

YOU’D LIKE TO ADMIT IT

You were the girl that laughed when I tried
You were the one that smiled when I sighed
You didn’t like my style or my songs
Now tables turned and you find you were wrong

So when I see you again I’ll just grin
Cos’ I’m glad that you had better sense than to mess up my life.

You haven’t changed and I know that you won’t
You stare at my back, then pretend that you don’t
You were too cute and correct to be mine
Now I’m kinda glad that we didn’t find time

So when I see you again I’ll just grin
And you know why it is, cos’ I’m glad that you’re his and not mine

I’m in the mood to reveal how I feel
You weren’t that sharp, but you had some appeal
Now there’s a hint of regret in your eyes
But you won’t tell me, and your smile’s your disguise

So when I see you again I’ll just grin
Cos’ I’m happy I’m here and that you’re way the heck over there!

All lyrics written by Rodriguez

Great Local Musicians – Willem Moller – Mnr Volume in a Gereformeerde Blues Band | Jive Talking and Eyeballing

From Jive Talking and Eyeballing Facebook Group

Willem Moller became known as the guitarist in Johannes Kerkorrel’s Gereformeerde Blues Band but over the years he’s worked with many other musicians. Time to find out who . . .
Hi Willem, good to see you again. Where and how did it all start for you?
A: Hi Ernesto. When I was a little kid, sixties pop was all over my elder siblings’ radios and record players. Certain records had such an exciting beat that I just had to start banging things along! By the age of eight I’d gotten a pair of drum sticks and was hitting anything I could find. Many years later I learnt that those records with the drumming that made me so excited (Beach Boys, Byrds, Monkees, Mamas & Papas, Fifth Dimension etc) all featured studio legend Hal Blaine, so you can blame him for all the noise I’ve made since! My eldest sister was studying music and teaching piano at home so I was also hearing classical music a lot and she taught me the basics of music theory, so I had that understanding of music since I was young. It definitely gave me an advantage. When I was 12 and in Standard 6 (Jan van Riebeeck Hoer, Cape Town) I started my first band, the magnificently named Septic Daisy, with the very talented Conrad Kuhne, who could sing and play piano and guitar, and me on drums. We tried our hand at anything we could – Creedence, Stones, Beatles tunes. The next year we were joined by Izak van Zyl on bass, and a few years later by the late great Nico Burger on lead guitar, by which time we were covering more challenging Led Zep, Deep Purple and prog material. During all this time I was also learning to play guitar.
Q. What inspired you to pick up the guitar?
A. My musical memory goes back to before the Beatles when instrumental guitar pop was big (the Shadows, the Ventures, Duane Eddy), so twangy electric guitar is in my genes! By the late sixties I was listening to Hendrix and the Who and then I saw the Woodstock movie . . . Jimi, Pete, Carlos! When I turned 12, I started getting R5 pocket money (for the month!) New albums cost R4.99 at the time (for a crappy local pressing) so the first time I got R5 I set off for the old Musica in Adderley Street, which then was a really hip record store that stocked everything and had staff who knew about the various genres and new release, and you could listen to an album on headphones before buying. I chose Live Cream simply because I like the cover, I actually didn’t know who the people in the band were. I was really into this heavy blues music but the minor pentatonic scale confused me; it didn’t fit into my understanding of music theory. But on Live Cream there’s a slow blues called Sleepy Time Time with a riff that goes from minor to major, and suddenly I understood how that minor scale works with major chords to establish the blues sound. A light went up! But that song gave me another epiphany: Eric Clapton’s unbelievable guitar solos made me feel an intense emotion every time I listened to them. I couldn’t really explain it but I suddenly saw a very clear goal for myself: I want to know how to do that – play guitar that make people feel emotion.
And this is Sleepy Time Time…
Q. Did you have guitar lessons or were you self taught?
A. I was self-taught, with the help of the many mates I jammed with – we all taught each other. We were forever seeking out new people to jam with as they might know chords or riffs we didn’t! And I listened to records and tried to work out and copy riffs and licks. I was also taking music theory as an extra subject at school, and that knowledge definitely helped me to understand what I was learning. So by my late teens I was the ou in the band who’d work out the arrangements and parts.
Q. What albums inspired you in this regard?
A. When Bruce Springsteen’s Darkness at the Edge Of Town came out the lyrics connected with me in an incredibly powerful way. To this day Badlands has me in tears by the first chorus . . . that album opened my eyes to the impact songs can have when combined with focused arrangements and production. It changed how I listened to music. I guess I started to think like a producer, looking at the bigger picture rather than individual parts or sounds – everything must serve the song; if it doesn’t it must go.
Here’s one of the songs off Darkness that really moved Willem:
Q. You’ve said that you consider the track Adam Raised a Cain to be punk.
A. To me punk is an attitude more than a musical style, and that song certainly has that attitude. I love punk, but then I love all genres – just when I think I don’t like a genre I hear a track that I have to admit is really cool! But there are many artists and tracks I don’t like, for many reasons – mostly to do with them being derivative/unoriginal/formulaic/boring/dishonest, and you find those things in any genre. Actually the word genre has become meaningless; the interesting things are always when people come up with stuff that doesn’t fit into any ‘genre’! In the early seventies I got into the Laurel Canyon singer/songwriter scene big time – Carole King, Joni Mitchell, Neil Young, James Taylor etc – and by the late seventies I’d gotten bored with loud blues rock and was immersing myself in jazz, particularly post-war jazz and more particularly what Miles Davis, John Coltrane and John McLaughlin were doing in the 60s and early 70s. I’d also discovered the real blues artists that all these loud longhairs I’d been listening to were copying, and immersing myself in that. So I wasn’t paying attention when punk happened in England in 76/7, but I caught up big-time a year or two later. I love the Pistols, Clash, Jam, Ramones, MC5 . . .
Q. How were you introduced to jazz?
A. I first heard Django Reinhardt when I was 12 or 13, and a year or two later I heard Inner Mounting Flame by John McLaughlin’s Mahavishnu Orchestra . . . the guitar playing was just beyond me. Also at the time drums were my main thing, and Billy Cobham changed the game! From there various roads led to Miles Davis . . . Miles’ 60s quintet is the highest level of musicianship I’ve ever heard, for me listening to that stuff is a spiritual experience. I also got big time into Charlie Parker, John Coltrane, Charlie Mingus and many others, and other guitarists like Larry Coryell. Listening to so much jazz changed the way I hear music and particularly the way I play guitar; my chord work is influenced by jazz pianists and my single-line playing by horn players, particularly Miles. I don’t consider myself a jazz musician though, although I’m a capable improviser and can hold my own with modal stuff.
On that note, this may be of use to guitarists out there . . .
Q. In the early 80s you had a band called Nothing Personal. Tell us how you got together – when, where and how?
A. While at varsity I’d met a bunch of wonderful musicians, many of whom have become lifelong friends – Adriaan Eksteen, Steve Louw and Rob Nagel among them. By the early 80s I’d graduated and was doing my 2 years in the army, but I had it fairly easy and had a lot of time to myself. By that time Adriaan Eksteen and I’d been playing together for 6 or 7 years and had a good vibe going. A guy we knew from varsity, Robin Hawkins, who had a band called Artvark was living in a house in Wynberg where he had a rehearsal room with gear where we’d often go for a jam; there were always people hanging out looking for a jam. That’s where we met drummer Simon Falkiner and singer Michael Copley. The four of us hit it off and were soon putting songs together from the riffs Adriaan and I would come up with and Michael’s lyrics. We played our first gig as Nothing Personal at the Movement Too club in Cape Town in December 1982. We weren’t exactly punks but we certainly had punk attitude in buckets! Our sound was more like a mix of Live At Leeds-era Who and the Jam, with a bit of our blues influences thrown in, and we were Bruce & the E Street Band nuts . . . but we played it all with Ramones-like energy. After playing every venue in the Cape Town area for about 6 months we moved to Jozi and tried our luck there. The band didn’t last but I loved Yeoville and I ended up living in Jozi for 20 years.
Q. How did you become a sound engineer?
A. I’d studied journalism, which provided me with an alternative career and I’ve worked on and off at various newspapers and magazines over the years while also pursuing music. By 1984 Nothing Personal was over. I’d quit a copywriting gig I hated and was at a loose end. Some mates with a band and an album out were about to go on tour and asked me if I knew how to mix a band. I’d never actually done it but bullshitted myself into the job . . . basically I learnt by making mistakes! But I did know how a band was supposed to sound and once I got a hang of the technical stuff I became a pretty good front-of-house engineer. I ended up mixing a bunch of bands, permanently on tour – at once stage I lived in the back of Kombi for a year! The gear was often iffy and the venues often unbelievably crap – like the Roxy Rhythm Bar in Jo’burg. I walked in and looked at the place and thought, you seriously play live music in here? It’s a square concrete box! That’s an echo chamber, not a venue! After about 5 years of this type of thing I was asked to mix a musical production in a proper theatre, with good acoustics and equipment. After that I only worked in theatres where you can do a really good, satisfying job. I did live sound on musical productions for another 10 or 15 years.
Q. Talk about Boere Punk and the Voëlvry tour.
A. A bit of background: By the late 80s South Africa was in a terrible state – state of emergency, people being detained and tortured, people dying in townships, a cultural boycott that isolated this country, the SABC and record companies refusing to touch artists that had anything truthful to say about the apartheid regime . . . An incredibly stressful and tense time. Amid this, in places like Yeoville, people were responding with fantastic creativity – they had nowhere to go. The saviour of SA music was Lloyd Ross, who started Shifty Records to record huge talents like James Philips, the Genuines and the Kêrels when no one else would. A few venues like Jamesons let these people play there, and a small but very powerful and influential scene developed. At that time Afrikaans music was basically an embarrassment to mankind – really bad schlage (German middle-of-the-road) songs that got even worse in translation. We all loved James Philips’ Bernoldus Niemand record which, along with David Kramer’s early records, showed that it was possibly to write Afrikaans songs that rang true and had something real to say. In early 1988 trombone player Jannie Hanepoot van Tonder and I’d both heard people talk of this one-man cabaret show at the Black Sun that we should go and watch. That was Ralph Rabie, then already known as Johannes Kerkorrel, and we were blown away by his songs. Also on the bill was Andre le Toit, later to become known as Koos Kombuis. We soon got chatting and, along with their manager ‘Dagga’ Dirk Uys, concocted a plan to start a rock and roll band that could bring Ralph and Andre’s songs to a bigger audience. Hence the Gereformeerde Blues Band. Our first gig, in April that year at the Pool Club in downtown Jozi, was a huge success and we realised we were onto something. At first I played bass and Andre played acoustic guitar, but he wasn’t a band person so Jannie and I asked Gary Herselman of the Kêrels – aka Piet Pers – to play bass, and I switched to guitar. Soon I quit my other gig – I was in Wendy Oldfield’s band at the time – and we started playing lots of shows. Lloyd recorded the Hillbrow/Ry single, which took off, and in January 89 we finished the Eet Kreef album. Meanwhile Dirk had organised a tour of university campuses for the first part of 1989, which became an ongoing, national tour sponsored by Max du Preez’s newspaper Vryeweekblad and named after a Shifty compilation of alternative Afrikaans music – Voëlvry.
Q. I believe there’s an interesting story about the photoshoot for the Eet Kreef cover?
A. The idea was a play on ‘let them eat cake’. So the art director organised a table with a few crayfish (as well some plastic ones) and a few actors to portray the aristocracy stuffing their faces, and then on the back cover you see the proles (the poor band) looking at the scraps that remained. Which is exactly what happened in real life! When we got there the actors had eaten all the crayfish and we were left with plastic props! The disappointment on our faces was real.
This is Johannes Kerkorrel and the Gereformeerde Blues Band being interviewed by Evita Bezuidenhout for M-Net in 1989 – it wasn’t broadcast at the time because M-Net was scared of government repercussions! Check it here:
This is Lloyd Ross’ documentary on the Voëlvry movement and tour:
There are still a few copies of Pat Hopkins’ accompanying book available – it includes a DVD of Lloyd’s doccie: https://www.bidorbuy.co.za/item/59338914/Voelvry_The_Movement_that_rocked_South_Africa_by_Pat_Hopkins.html
Q. I found it interesting how you guys swopped instruments around during your sets.
A. Jannie, Gary and I had all been in bands for years by that time so were pretty experienced. We could all play drums, Gary and I could play guitar and bass, and Jannie is one of the best trombone players I’ve ever heard so there was no way we weren’t gonna feature him! So it made sense to swop around; I thought it gave us an advantage musically, sonically and, on stage, visually. Ralph wrote the songs and could perform them solo at the piano, so whatever we added had to serve the song and make it better. That was the only rule. We were helluva stoked to have Piet in the band – we were huge Kêrels fans and Gary is a rock and roll legend . . .
Q. Who did you play with after the GBB?
A. In the 90s I basically became a sideman for hire. I’d started playing on all kinds of people’s records, which then often led to me working with them on gigs and tours. I worked with Nataniel for about 15 years, which was a fantastic expierence! I played guitar, bass and drums in his shows and mixed many of his big theatre productions. I’ve been fortunate to perform with so many hugely talented people, all of whom taught me things and enriched my life – Nataniel, James Philips and the Lurchers, the Radio Rats, the Pressure Cookies, Big Sky, Luna Paige . . . to mention just a few. I played on various albums with these people as well.
In 1990 I bought an analogue 8-track setup and started my first studio in the basement of my house in Sharp Street, Yeoville. To this day my studio, wherever I live, is called Sharp Street Studio. Over the years I’ve recorded, mixed and produced albums for tons of SA artists and today it’s my main activity; I don’t gig that often anymore. I’ve recorded so many talented people – the Sunshines, Valiant Swart, Henry 8, AD de Vos, the Blues Broers, Bright Blue, to name a few . . . Currently I’m working on projects by people like Dax Butler, Greg Schoeman, Belinda van Zee, Marcia Moon, Bacchus Nel, Riku Latti and Adriaan Eksteen – all great stuff!
Q. Do you remember the Hip Replacements?
A. I recorded their one and only album! Scotty, Bertie and Andrew are all old mates and I loved their tunes and sound. Bertie (Mark Bennett) is a hugely talented songwriter. I played with them a few times over the years too. I even played drums with them once, but they thought I wasn’t hip enough so they replaced me . . .
For more on the Hips:
https://www.facebook.com/pg/thehipreplacements.za/about/?ref=page_internal
Check out Ad de Vos:
Willem played on the Radio Rats’ recent album Concise Rock and Roll Primer – for more check:
Q. Tell us about backing Rodriguez on his first South African tour in 1998.
A. Since 1990 I’d been playing on and off with my old varsity mate Steve Louw and his band Big Sky. Early in 1998 Steve called and said, ‘If Rodriguez was to tour South Africa, would you like Big Sky to be the support band?’ I said, ‘Sure, but I thought he was dead?’ Steve said, ‘Well apparently not.’ So we rounded up the band, which at that time was Reuben Samuels on drums, Graham Currie on bass, Russel Taylor on keyboards and my wife Tonia (of the Pressure Cookies) on backing vocals and percussion. Then about 2 weeks before the tour was supposed to start we got word from the promoters that not only did Rodriguez not have a band, he hadn’t played for 20 years and didn’t even own a guitar anymore! So the promoter bought him an acoustic and asked Big Sky (minus Steve) if we would be his backing band if they paid us double. Of course we all knew the songs and had played some of them in cover bands, so we listened to the records and prepared. Then a few days before the first show we were in the old Milestone Studio in Cape Town, rehearsing along with a Greatest Hits CD so we could follow Rodriguez’ voice. Halfway through a song Rod walked in, grabbed a microphone and started singing along. Someone switched off the CD player and we finished the song together! We all looked at each other and agreed, yep we can do this. The tour is legendary. It was the only time in his life the guy performed live to his full capacity – his career stalled back in the early 70s partly because he was stage-shy and wouldn’t tour to his promote his records. Once he realised that Big Sky knew and respected his material and had his back, his confidence grew and he was great on that tour. Sadly from what I’d experienced and heard of subsequent tours, his drinking often got the better of him and some shows have been disastrous – which is sad. His health also deteriorated and he’s gone blind, yet his daughters (who manage him) kept sending him out on endless tours . . . it’s unfortunate. But on that 1998 tour he was fantastic.
Check Tonia Moller’s documentary on Rodriguez’ 1998 SA tour, Dead Men Don’t Tour, which features the man in full force – the live footage in the Oscar-winning doccie Searching For Sugar Man came from Tonia’s film:
Q. How did you meet Tonia?
A. We met in the late 80s in Yeoville. I’d seen her perform with her band Khaki Monitor – which was one of the first alternative bands to use Afrikaans lyrics – and she was doing cabaret work. Then she joined the Gereformeerde Blues Band on backing vocals and percussion for the Voëlvry tour. After that the two of us had a string of blues bands and played in venues around Jozi for years, while she also formed the Pressure Cookies to perform her own songs. We got married in 1996. (Interview with Tonia coming up in a month or so – Ernesto.)
Q. Tell us about making the soundtrack for the local comedy Skeem.
A. I’d been playing with drum legend Barry van Zyl for years. He and James Stewart (formerly of the Usual) had formed a music publishing company and among other things were writing movie soundtracks. Barry asked if I’d be interested in creating the music for a new movie, and that it would involve a band improvising rockabilly jams while watching the images. That sounded like fun, so I was in. In the end the whole deal became a lot more complicated, but much of it did involve jamming some breakneck stuff while watching the movie projected on a wall in the studio, with the director, Tim Greene, jumping up and down as he directed us . . . it’s actually a fun soundtrack to listen to.
Here’s the trailer:
Q. You also worked with Andrew Kay’s band the Skyt Muties.
A. I recorded their album back in the 90s. I thought they were ridiculously good and that Andrew was a real special talent. He revived the band for a few shows a few years ago and I played 2 gigs with them. I love those songs!
Q. What have been some of your proudest moments in your recording career?
A. I’ve recorded hundreds of artists at Sharp Street Studio, especially in the 90s when I guess I was cheaper than anyone else! As it turned out a whole bunch of really talented people never released what they recorded with me and never really recorded again, so I have these gems in my archives . . . Machines of Joy, The Andy Clegg, Rear Window are 3 that spring to mind – really original and quirky material that the world should have heard but didn’t. Those recordings are close to my heart . . . Of the released stuff, there are a few I’m really proud of, such as Valiant Swart’s Mystic Boer (for me his best songs) and Kopskoot, Henry Ate’s Slap in the Face, Randy Rambo and the Rough Riders/Die Naaimasjiene, the Blues Broers’ Sharp Street, Been Around and Cellar Tapes, AD de Vos’ Diep Karoo and Wolfman . . . I also co-produced James Philips and the Lurchers’ album Sunny Skies (with Lloyd Ross), which I think is a fantastic record. I also play guitar on it. I also really love Greg Schoeman and the Comeback Kings’ In my Street and Dax Butler’s Drink in Everything and Trouble in Mind.
This is Dax Butler’s Bandcamp page.. https://daxbutler.bandcamp.com/
This is Greg Schoeman and the Sunshines with their big hit from back then…
And here is the classic album by the Blues Broers…
Ernie: I also love Valiant Swart’s Die Mystic Boer and think those are his best songs:
Willem: I love the Randy Rambo and the Rough Riders/Die Naaimasjiene stuff! We totally ignored absolutely every rule. There will probably never be another album like Die Saai Lewe . . . Randy is still at it.
Check out Die Naamasjiene’s recent material:
https://soundcloud.com/dienaaimasjiene

Q. Any last words/thoughts?
I really miss those musical compadres who are no longer with us – Johannes Kerkorrel, James Philips, Nico Burger, Izak van Zyl, John Mair, Simon Falkiner, Michael Copley . . . all wonderful talents, all gone too soon. You guys rock, wherever you are.
Cheers Willem, long may you rock
Ernesto Garcia Marques 01/07/2020

Sugar Man song featured in trailer for “Moffie” film

The year is 1981 and South Africa’s white minority government is embroiled in a conflict on the southern Angolan border. Like all white boys over the age of 16, Nicholas Van der Swart (Kai Luke Brummer) must complete two years of compulsory military service to defend the Apartheid regime. The threat of communism and “die swart gevaar” (the black danger) is at an all-time high. But that’s not the only danger Nicholas faces. He must survive the brutality of the army – something that becomes even more difficult when a connection is sparked between him and a fellow recruit.

MOFFIE, is the 4th film by director Oliver Hermanus. It is produced by South African-born producer Eric Abraham who produced the Academy Award-winning films – Pawel Pawlikowski’s Ida (2014) and Jan Sverak’s Kolya (1996) and Jack Sidey of Portobello Productions. It is based on the memoir, Moffie, by Andre-Carl van der Merwe and tells the story of a conscript who embarks on his military service in 1981 South Africa. In local theatres on 13 March 2020.

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A Spoonful Of Sugar And James returns to the Alma Café in Mowbray on Friday Sept 27th at 8pm

Sugar and James

A Spoonful Of Sugar And James returns to the  Alma Café in Mowbray on Friday Sept 27th at 8pm. Booking is as always absolutely essential by phone on  021 685 7377. 50 seats only.

This innovative, informative and slightly irreverent performance sees the acclaimed South African singer-songwriter, James Stewart, joining Stephen “Sugar” Segerman, the man behind the rediscovery of Sixto Rodriguez and the Oscar-winning documentary, “Searching For Sugar Man”, to share their respective stories and play and sing some great Rodriguez and South African classic songs.

www.SugarMan.org

A Spoonful of Sugar and James at The Glencairn Hotel, 31st August 2019

Sugar & James Glencairn

A Spoonful Of Sugar & James
The Glencairn Hotel
31 August

It’s been called “The Greatest Music story of the past 50 years”, the story of this wonderful and talented musician and his journey to his well-deserved and long-overdue fame. But enough about James Stewart 😉 In this innovative, informative and slightly irreverent show, James joins Stephen “Sugar” Segerman, the person behind the rediscovery of Sixto Rodriguez and “Searching For Sugar Man”, the Oscar-winning documentary about the whole story, as the two music journeymen tell their respective tales and play and sing some of the most seminal Rodriguez and South African classic songs. Willem Moller will add his special soulful flair on guitar.

Book tickets here http://bit.ly/SugarJamesGlencairn

Sugar Man: A Rodriguez-inspired Mix, feat Large Professor, MonkeyWrench, Frank Sinatra | Brian Currin on Mixcloud Select

Sixto Rodriguez, Brian Currin, Stephen "Sugar" Segerman, 2 March 1998
Sixto Rodriguez, Brian Currin, Stephen “Sugar” Segerman, 2 March 1998

Sixto Rodriguez was born on the 10th July 1942, and his amazing story was the subject of the Oscar-winning documentary “Searching For Sugar Man”.

Rodriguez was influenced by a variety of artists including Frank Sinatra, Bob Dylan, Jimmy Reed, Jefferson Airplane and many others. He has also been a great influence on artists from various genres and he has been covered by musicians in the Jazz, Reggae, House, Electronica, Hip Hop and Rock fields.

This exclusive Mixcloud Select mix is a small tribute to this great and humble man who has inspired many, many people worldwide including myself.

Read more about Rodriguez at http://www.SugarMan.org

‘A SPOONFUL OF SUGAR AND JAMES’ COMES TO SUIKERBOSSIE

Sugar and James

It’s going to be a very sweet Sunday afternoon in Hout Bay when James Stewart and Stephen “Sugar” Segerman bring their exciting new show, ‘A Spoonful Of Sugar And James’ to SuikerBossie on 5th May. Following a series of sold out, and critically acclaimed, early performances, this entertaining show is looking to move to larger theatres in the near future, so this is a good opportunity to catch this performance from up close.

James Stewart, the well-known South African singer-songwriter from The Usual, and ‘Sugar’, the man behind the rediscovery of Rodriguez, and the film, ‘Searching For Sugar Man’, share their stories, with some classic Rodriguez, South African, and James Stewart original songs mixed in.

The show begins in the late afternoon (6pm) and the ticket price of R270 per person includes a typically delicious SuikerBossie meal of a mini-soup, gourmet burger and dessert. Tickets are already on sale at Web Tickets so book now:  http://bit.ly/SugarJamesSuikerbossie or www.webtickets.co.za

James Stewart

MUSICalchemy

082 807 9544 | james@music-alchemy.com | www.music-alchemy.com

Emmy nominated, multi SAMA award winning, chart topping singer, songwriter and music business entrepreneur.

A Spoonful Of Sugar & James at Alma Cafe 12 April 2019

Spoonful Of Sugar And James

It’s been called “The Greatest Music story of the past 50 years”, the story of this wonderful and talented musician and his journey to his well-deserved and long-overdue fame. But enough about James Stewart 😉 In this innovative, informative and slightly irreverent show, James joins Stephen “Sugar” Segerman, the person behind the rediscovery of Sixto Rodriguez and “Searching For Sugar Man”, the Oscar-winning documentary about the whole story, as the two music journeymen tell their respective tales and play and sing some of the most seminal Rodriguez and South African classic songs.

This Friday!

Sugar and I promised ourselves we’d do a short run and see how it goes…. it’s been amazing.

A Spoonful of Sugar & James intertwines and connects seminal South African songs with a story so seemingly fantastical it seems unbelievable.

Booking is as always absolutely essential by phone on  021 685 7377. 50 seats only.

James Stewart

MUSICalchemy

082 807 9544 | james@music-alchemy.com | www.music-alchemy.com

Emmy nominated, multi SAMA award winning, chart topping singer, songwriter and music business entrepreneur.

 

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