Tilo ngwana Rashaka Mokgopo
Nothing but my truth, so help me God.
This is unprecedented. In simple language, I have never done something like this before, and it has never crossed my mind that one day I will find myself doing this; nonetheless, here I am, writing the article.
Boss ya tša manyalo, mmm, this should be a very interesting topic that captures the attention of everyone that follows manyalo music. I’m going to be sensitive and yet critical about the subject matter. Mind you, this is my own analysis of the situation. It does not have to be a gospel truth to you.
To date, aspirant artists from Limpopo who wish to go into the entertainment industry find themselves having little choice but to sing manyalo music. This musical genre is booming at an incredibly high volume thus monopolizing and branding the province as the manyalo province.
Since the advent of this musical genre in the early 2000’s, many artists have deserted their primary genres to sing wedding songs. This is because house, gospel, kwaito, afro pop, soul music etc are no match to manyalo music. In Limpopo if you want to attract the attention of various people from diverse social and cultural backgrounds, then sing manyalo music.
Several artists that have made names for themselves in the industry include, inter alia, Pleasure, Makhirikhiri, Malabulabu, Tiisetso Swafo, Ayanda, S George, Doc tsa Manyalo, Makhadzi and previously Lolo Ten Ten, S Mickey, Ester and Mokgakga.
Some of the blasts from the past that have really captured the imaginations of the people include Lefotwana, Nigeria, Khethile Khethile, Sekirileke, Setlapane, Malabulabu, Hlogo ya opa, Lesotho ke rome mang?, Lenyalo la sebjalebjale le monate ka di hunter’s dry, Nkabe dinonyana di kgona go bolela, Se ka ntshwara mo, le mo, le mo monna wa ka o wa boulelwa, Ba re ga o šome darly, monna wa ka ke Lejamboko, Sekgameetse lebitla la mosadi ke bogadi, Ngwano o pakile, Tsheri tshuma lebone, Nkadime diteki ke bine le makoti and many others.
But of all the thousands songs we have in the industry, there’s not even a single track that comes close to Pleasure’s Lefotwana. When we talk about the Makoya, boss ya dikosa tsa manyalo, we talk about Lefotwana.
Of course the profound foundation was laid by Sekgameetse. The song was released only in 2009 and prior to that there were many hit tracks but the real manyalo hit track started with Sekgameetse and because of the vibe and hype that came along with this song, a lot of people were drawn closer to this genre and more and more people came to the fold expressing their keen interests in singing manyalo music.
Even today, 5 years after the song was released, Sekgameetse is still a hit. Thus far the only track in the industry that promises to follow the footprints of “Sekgameetse” and “Lefotwana” is “Laela”, coming from Pleasuretainment stable.
A real hit track will sustain itself in the market even after the expiry of its shelf time. According to me, a track that keeps people on their toes dancing for 10 months cannot be considered a hit track. Perhaps I’m wrong; it could be considered a hit, but a “short term temporary hit track.”
A lot of artists in this industry are renowned of producing temporary hit tracks that fail to sustain them. In many instances, artists produce what many people term as “good” music but the problem begins when the identity of the musicians remain unknown. I can only speak for myself, songs such as “Lesogo ke mang?”, “Re kopane Pretoria” and “Makoti shaker Motshatsha” for example, I have no clue who sings these songs.
In terms of leading male vocalists in the industry, (here I’m solely interested in artists’ vocal capabilities), Tiisetso Swafo and Makhirikhiri take the cup with their rich manly voices. Even though it is only fair to include Thapelo of Malabulabu fame in the list, allow me to exclude him for my own reasons.
And you know things are starting to get exciting when you have a Venda speaking female vocalist singing manyalo music. Makhadzi, who’s only 18 years this year, survived many storms in the industry from exploitation to working without any form of payment. She sings in pure Venda and she’s also fluent in Pedi. I’m not surprised; she grew up in Ga-Sekgopo.
But as talented as they may be, Pleasure remains at the helm of the industry. The lead vocalist of my obvious favourite “Kgalemela lenyatso” has been in the industry for 9 years, only 1 year away from celebrating a decade in the industry. To top it all, she has a wealth of experience under her belt of producing sustainable hit tracks.
Pleasure is the last woman standing. Counting all the artists that rose to fame around the same time as her, all of them are nowhere to be seen today but Pleasure, by contrast, is still doing very great. I’m one person who believes that Pleasure is the best and at least in the near future no artist will claim her position and all is because the gap between her and the first runner up is to huge to fill even in the next coming 10 years.
“Makhuduthamaga ba tseba. Tubatse ba tseba. Fetakgomo ba tseba. Motswaledi ba tseba. Sekhukhune ba tseba gore… BOSS KE MANG,” thanks Masele and Dicksy, I couldn’t have said it much better.