When Rodriguez walked out onto the stage in Cape Town back in 1998 to kick off his first ever SA tour, he thanked the audience for keeping him alive. And a large part of that thanks could have been directed towards Ard Mathews and Just Jinger as their cover version of the Rodriguez classic, ‘Sugarman’, was probably as important in bringing the Detroit musician to a new generation of fans as the army call up was to his first South African fans.
‘Cold Fact’, the Rodriguez album that contained ‘Sugarman’ had been around since the late 60’s early 70’s and seemed to live in the air we breathed back then. Nearly every white South African home had a copy of the album and everyone knew the song. It seemed only natural then for someone to cover it, but strangely it had to wait till the 90’s before Just Jinger plucked up the courage to take on such a revered song. And they did the right thing with their cover as it is as straight forward a cover of an original as one could get. Just about the only difference between the original and the JJ’s version is Ard’s grungey vocals compared to Rodriguez’s folky ones.
So what, you may ask, is the point of producing a cover that is pretty much the same as the original? Well, I think that the fact that Just Jinger didn’t deviate too far from the original shows their huge respect for the song and the singer as they didn’t want to mess too much with the original, seeing it as perfection in itself, so they could only imitate and not add to it. The second reason that this was an important cover was laid out in the first paragraph of this article. Just Jinger were becoming one of the biggest bands in the land and the fact that they tipped their hat to this classic song had their younger fans digging out their moms and dads CDs to check out the original.
At the time Just Jinger covered this track, there was hardly another cover of the track, let alone a cover of any other Rodriguez tracks out there (there were some and a list of pre-‘Searching For Sugar Man’ covers can be found here: http://sugarman.org/coverversions.html). Just Jinger with their excellent and timely cover of the track helped keep Rodriguez alive and well and they did so reverentially, letting the song take the limelight. This would have to go down as one of the greatest covers of an international track by an SA band.
The Institut français (Paris), the French Embassy in South Africa and IFAS-Research are pleased to present the Hidden Years Music Archive Project, which is hosted by the Africa Open Institute for Music, Research and Innovation (Faculty of Art and Social Sciences, Stellenbosch University). This documentary is part of a project initiated and supported by the Institut français (Paris), the French Institute of South Africa and IFAS-Research, called “Sounds of Southern Africa”.
Steve Louw and his band Big Sky appeared with Rodriguez on the sold-out South African tour in 1998 as featured in the Oscar-winning film “Searching For Sugar Man“.
Here is the official video for “Train Don’t Run”, created by Jacqui van Staden. From the album “Headlight Dreams“, produced by Kevin Shirley and released 7 May 2021.
… my favourite track on this album is the almost proggish “Train Don’t Run”. Clocking in at seven and half minutes this is an epic tune that you hope never finishes. There is a soaring guitar solo by Rob McNelley that David Gilmour fans will love. No surprise to discover that this track was mixed on the same console as the classic “Dark Side Of The Moon“.
My grandfather was a railroadman and in the 1930s my father rode trains looking for work. To me, trains symbolise our attempts to bend nature to our will – and we’re seeing that trying to do that will never work. Silence will always return to the plains, the wind will blow, tracks will crumble and the earth will breathe again. This song has the wide open plains in it; dry cracked earth and a broken land.
The song builds from a driving acoustic guitar and hypnotic bassline to a haunting guitar solo by Rob McNeeley. The production (by Kevin Shirley) brings out the relentlessness of the song and of what we inflict on our planet.
TRAIN DON’T RUN (Recorded February 27, 2020)
The wind blows across empty plains That hold so many bones The rails glow years since the rain Horses roam on broken stones Train don’t run round here no more Train is gone for us all
Put down a coin on the track Saw silver turn through black Seeds thrown all come back Haunt the earth broken and cracked Train don’t run round here no more Train won’t come for us all
I can help you cross if you’ll let me Spirits roam across this broken land What’s been lost you can see Count the cost can’t understand Train don’t run round here no more Train is gone for us all
MUSIC EXCHANGE (#MEX21), South Africa’s preeminent entertainment-economy-invested conference, returns this September for the 11th consecutive year, hosted by Ticketpro.
Lauded and awarded for its consistent commitment to the broader South African music industry, #MEX21 will run from 11 September to 2 October 2021, with a wealth of quality international and local speakers.
Some of the topics #MEX21 will unpack, in detail, include our streaming reality, the platforms generating engagement (Ayoba) and driving artist’s incomes (SubmitHub), right through to the importance of heritage (MEX Chairman), the state of radio in South Africa (KFM), and just how artists are rebuilding and morphing in response to the pandemic (RJ Benjamin).
Our Keynote speaker, from Australia, is Michael Smellie. He speaks about the seven deadly sins of the music business.
Michael’s career in the music business spans more than 25 years.
He has worked across five continents as former Global Chief Operations Officer of Sony BMG, Asia Pacific Head for BMG, and Managing Director of Polygram and rooArt in Australia.
He is an investor, adviser and board member to many start-ups’ creative businesses in Australia and the United States and is currently the Board Chair of the Music Council of Australia.
Stuart Rubin, from New Zealand, speaks about the importance of the song and looking to legacy for wisdom and inspiration as well as unpacking Elvis 30 Number 1’s and Neil Diamond.
At the height of his career, he was Senior VP of Worldwide Marketing for Sony BMG. Stuart’s career in music started in New Zealand in 1976 with PolyGram.
He “crossed the ditch” to Australia and held several senior marketing roles in PolyGram and BMG, before moving to Hong Kong in the 1990s where he became BMG’s VP of International Marketing for the Asia-Pacific region. In 2001 he moved to New York, becoming Senior VP International for BMG. Following the merger with SONY, three years later, Stuart was made Senior VP International of Commercial Marketing.
Stuart’s interview reveals a person fascinated with people, whether they are artists or music lovers. With his long experience in selling music to a global market, and as an A&R professional, he delivers a unique perspective on the industry.
Gasant Abarder, the author of Hack the Grenade, columnist, and former editor of the Cape Times & Argus speaks to the Cape Town reality for artists and his take on the media landscape in both print and online.
We speak to legacy with producer Greg Cutler, an engineer from London; regarding his relationships with Harari, Hotline and Rabbit, bands that shaped the SA sound that we know and love today.
Despite the past 18 months being the most challenging in MEX’s decade-plus dedication, investment and global outreach, Music Exchange 2021 (#MEX21) is opening its annual industry-focused indaba to the world come 11 September 2021.
Over the past 11 years, MEX has actively informed, partnered and brokered with some of the biggest and most influential players and institutions, with the sole purpose of elevating, educating and sharing a wealth of learning from all four corners of the planet and 2021’s #MEX21 commits to being no different.
If anything, #MEX21 is offering everyone, directly or indirectly professionally affected by the pandemic, an opportunity to explore the possibility of change, with speakers who exemplify talent, success, and perseverance at a time like no other.
MEX has welcomed and hosted the likes of composer Dr Trevor Jones, musician and producer Bryan Michael Cox the Orchard’s Ben Oldfield, Mark Murdoch, Mos Def, Tim Renner, Rachel Z, Tom Novy, Karen Zoid, Siphokazi Jonas, Christian Wright from Abbey Road, Arthur and Charles Goldstuck and Moreira Chonguica among many more, all in an impressive lead up to this year’s impressive list of confirmed speakers.
The #MEX21 speaker line-up includes, but is not limited to:
#MEX21 will host local entertainment industry thought-leaders and game-changers in 30-to-60-minute presentations on the Ticketpro streaming platform.
For a mere R100 investment, per ticket, #MEX21 delegates will enjoy an all-access pass to the full 11-day conference, comprising a series of unmissable keynote addresses and international thought leadership sessions from some of the most relevant and revolutionary minds in the business.
Martin Myers, founder, and convener of the conference remarked “2021 is another big year in Music Exchange’s history. Our collective and ongoing investment to help influence, adapt, evolve and remain relevant in a massively compromised economy sits at the heart of all we do.”
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This documentary was shown on South African Television this week, 20 years ago.
Footage from this documentary features strongly in the Oscar winning film, Searching For Sugar Man.
Directed by Tonia Selley and featuring Big Sky, “Dead Men Don’t Tour”, was first broadcast on SABC 3 at 9.30pm on the 5th July 2001 just after ‘Ripley’s Believe Or Not’.
This film features wonderful concert footage, backstage antics, interviews with Craig Bartholomew Strydom and Stephen “Sugar” Segerman, Rodriguez and his family, the promoters, the fans and the musicians.
All live footage was filmed at the concerts in Pretoria, Durban and the Blues Room in Johannesburg.
The soundtrack for the documentary is based on the Live Fact CD with video collages from the various performances. The concert footage is linked with interviews, backstage antics, rehearsals, etc.
Inner City Blues
Jane S. Piddy
A Most Disgusting Song
Climb Up On My Music
I Wonder by Generation EXT (filmed during the studio recording)
Produced by Incha Productions Executive producers: Georgina Parkin and Charles Watson Directed by Tonia Selley Edited by Cathy Winter
In less than 3 weeks since the single release with Joe Bonamassa entitled “Wind in your Hair” Spotify figures reveal over 68 000 listeners and over 98 000 streams of the song “Wind in your Hair “ – a remarkable feat!
Steve Louw shines on Headlight Dreams
Cape Town, 7 May 2021 – It’s hard to believe the last new music we heard from Steve Louw arrived seven long years ago. With the wait now finally over, fans right around the world are already embracing the pop/rock icon’s return with arms wide open.
The past year has been a rich and hugely rewarding one for Steve. Not only did Steve record his brand-new album, Headlight Dreams, in Nashville, along with his long-time friend and producer extraordinaire, Kevin Shirley (John Hiatt, Joe Satriani, Led Zeppelin, The Black Crowes), but Grammy Award-winning singer/songwriter and genius guitarist, Joe Bonamassa also pitched up and added his magic to the record. To boot, SONY ATV, upon hearing the finished album, offered Steve his first international solo artist record deal.
The album now out and with two singles already on high rotation, “Crazy River” and “Wind in your Hair”, the latter is the one that’s quite literally blowing up all around the world. In its first week of release in the US, the track landed at the highly coveted Number Two position on the Billboard ACC Folk Chart, ahead of the likes of the equally commendable Rhiannon Giddens and Francesco Turrisi.
Along with its spellbinding video, “Wind in your Hair” is the track that sports Joe Bonamassa guitar fills and outstanding middle-eight. What makes this song all the more special for its maker is the fact that Kevin sent it to a friend to master, thereby adding the final piece of magic to this blinding brilliant musical statement.
Steve’s wedding anniversary was coming up two days after the album wrapped and, unbeknownst to Steve at the time, Kevin had sent the track to mastering legend, Bob Ludwig and within a day he’d mastered it and sent it on to Steve on the day as a gift to celebrate his nuptials. “When I got it, I played it on my little Bose speaker out into New York. It was one of the greatest moments ever!” Steve recalls. To top it off, Bob sent an email with the final mastered track saying, “What a wonderful song, what a wonderful vocal performance, I loved working on this”. “I practically did a giddy summersault,” he recalls.
As to the creation of the track, Steve points to how, lyrically, he sings of love changing and building between two people as life throws up detours and bridges. “It’s a love story exploring how two people, who love each other but have different needs and desires, travel through their life and love. The chorus kicks back to the joy of love, while the verses take you on a journey of rough and smooth roads and winding passes, ending at the place they set out for.”
With ten tracks captured in an arresting three-day recording sprint, producer Kevin Shirley channelled each one of Headlight Dreams’ songs through a vintage Neve console inside of a converted church. “From the first moment I loved the acoustics of the studio and the vibe created by the wonderful Nashville musicians with their great feel and playing, drawing you into a world shimmering in the half-light, just out of reach…,” Steve shares.
With the promise of future live shows in support of the album’s release, fans can look forward to sharing what is the greatest ride of Steve Louw’s life. A consummate storyteller, a supremely gifted guitarist and a genuinely wonderful human being, Steve’s Headlight Dreams is a beautiful statement, endorsed and applauded by everyone it touches.
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
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.
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
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!
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
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
During lockdown guitarist Michael Currin often sent drummer Stephen Timm and lyricist Toast Coetzer some guitar tracks he had come up with. These were sent via their WhatsApp group and after a while conversation drifted in the direction of ‘Why don’t we make a little album out of this?’ “Satelliet” is a 6-track EP built around Michael’s guitar compositions, with Toast writing lyrics for some of them (“Ice Pyramid” is Michael’s epic solo instrumental!), and Stephen adding the finishing touches during production. It’s lo-fi as an old fence-post, but we think you’ll like it! Download it for free on our Bandcamp page.
1. Bus Station – Fly Paper Jet
2. Hammerhead Hotel – Falling Mirror
3. Alison – Dolly Rockers
4. Getting Better – Scabby Annie
5. Shock Time For Rock – The Popguns
6. Morrison Hotel – Jack Hammer
7. Werewolf In The House – Falling Mirror
8. Kamikasi – McCully Workshop
9. Mucking About In The Dungeons All Day – Radio Rats
10. Monster From The Bog – Psycho Reptiles
11. Bellville Rock City – New World Inside
12. Psycho Bitch – Toxic Shame
13. Boxstar Kitty – Three Bored White Guys
14. Blue Eyed Devil – Th’ Damned Crows
15. Psycho-Babble – Lancaster Band
16. Britney Spears – Tweak
17. Babydoll Blues – The Ragdolls
18. Psycho – Them Tornados
19. Woo Hoo! – Fire Through The Window
20. Baby Girl You’re Gonna Burn! – Peachy Keen
21. Drakilla – The Psykotix
22. Surfin’ With The Goth Gang – Martin Rocka And The Sick Shop
23. Krokodil – Retro Dizzy
24. Buccaneer – Moyawetu
25. Beethoven Is Dying – Koos Kombuis En Die Warmblankes
26. Only Yesterday – Sharkbrother
27. Boomtown Hotel – Valiant Swart
28. Kitchener – Piet Botha
29. Praha Paradise (2007 version) – Ernestine Deane feat Tim Parr
30. Die Gipsy In Jou Oë – Anna Davel
31. Farewell To Gypsy – Bonekey
1. Rock ‘n Roll Party – Ballyhoo
2. The Boy & The Bee – Omega Limited
3. The Eagle Has Landed – Dickie Loader & Freedoms Children
4. The San Diego Sniping Event – Falling Mirror
5. Charlie – Rabbitt
6. Substitute – Clout
7. Guinevere – McCully Workshop
8. What’s Going On – The Third Eye
9. Telephone Girl – Assagai
10. Hard Ride – Rabbitt
11. Candlelight – Richard Jon Smith
12. Astral III – The Invaders
13. Black Night – Omega Limited
14. Evil Ways – The Attraction
15. Better The Devil You Know – Stingray
16. Jo Bangles – Baxtop
17. Fantasy – Trevor Rabin
18. Born To Be Wild – Buffalo feat Peter Vee
19. The Journey – The Staccatos
World in Union (2020 Tribute) by PJ Powers and the Tygerberg Children’s Choir (TCC) is a tribute to all Covid-19 essential workers and public efforts made in fighting the corona virus pandemic. This new version of the song was filmed and recorded by the artists in isolation during the country’s lockdown, and released on Africa Day 25 May 2020.
According to PJ Powers the song choice was perfect for the cause as World in Union is a song that expresses so many things that we as humans need. “ When I did it in ‘95 for the Rugby World Cup it became a song of triumph and victory for South Africa, of unity and strength. This time around I approached the vocal with a sense of healing and hope in my mind, and without changing a lyric I feel that is what we have captured in this version.”
PJ and the TCC were originally scheduled perform at the 2020 Suidooster Festival in Cape Town during May. The project is a proud initiative by the Suidooster Festival in association with CTMA, Die Burger and other festival partners. Keep an eye on our social media platforms for new scheduled festival dates for 2020.
This is a mainly South African, mostly Afrikaans series of shows with some well-known tjoons and many obscure ones.
Some happy songs, some angry songs, a few light songs, and quite a few dark ones.
The name of this show is inspired by the song “Suitcase Vol Winter” by South African Music Legend Piet Botha www.PietBotha.com
Some lyrics are explicit and/or offensive.
Photo by Hein Waschefort, 2013
1. Meisie Sonner Sokkies (live 1998) – David Kramer
2. Sien Jou Weer (Piet Botha cover) – Beeskraal met Piet Botha
3. Die Mystic Boer – Valiant Swart
4. Kan Ons Weer Begin – Ashton Nyte
5. Sit Dit Af – Johannes Kerkorrel & Die Gereformeerde Blues Band
6. Ou Swerwer – Piet Botha
7. Lisa se Klavier – Koos Kombuis with James Phillips
8. n Brief Vir Simone – Anton Goosen
9. Bittermaan – Spoegwolf
10. Breyten se Brief (2010 recording) – Jan Blohm & Milan Murray
11. 9mm Blues (demo version) – George Harry (Jan Blohm)
12. Spook – Spinnekop
13. Die Donker Kom Jou Haal (Valiant Swart cover) – The Black Cat Bones
14. Dagdrome in Suburbia – Francois van Coke feat Spoegwolf
15. Slang – The Kêrels
16. Bloemfontein – Springcan
17. Reënvoëls – Mel Botes
18. Giant Puzzle – Al’astair
19. Matchbox Full Of Diamonds – David Kramer
20. Brixton Dae – Brixton Moord En Roof Orkes
21. Sondagmiddag – KOBUS!
22. Nikitien En Kafeïen – ddisselblom
23. Rock & Roll Jannie – Jakkie Louw & Wickus Van Der Merwe
24. Blommetjie Gedenk Aan My (Anton Goosen cover) – Stean Ennie Crank-shafts
25. Êrens – Ark
26. Mooie Vrou – Kaal
27. F.A.K. – Skallabrak
28. Mynhope In Die Bosveld – Wildebeest
29. Ventersdorp (Song Vir Angelique) – Die Kaalkop Waarheid
30. Verspreide Donderbuie – Amanda Strydom
31. Van Tonder – Piet Botha
32. Stille Soldate – Touch Of Class