Author's note: I first wrote about this subject in 2011 on the Yesfans forum but I decided to create a more formalized and better-researched essay sometime after that, and so here it is (finally).
The most powerful of voices can break through barriers of prejudice and oppression, especially with the help of South Africa's biggest hitmakers. This is the story, and the triumph, of Margaret Nomvula M'cingana (her surname later anglicized to Singana) - known to those who loved her as Lady Africa.
The reason I have titled the essays on Trevor's work during his time in South Africa "The Secret Discography" is because for many years not much was known about the numerous projects and sessions he created and performed on, apart from his role in Rabbitt, to fans in the rest of the world. Trevor has never been particularly forthcoming regarding this period, other than stating that he played on hundreds of recordings for all types of music, as well as responding to a few pointed questions. As the reach of the Internet began to extend everywhere, more information and credits were shared by record collectors all over the world, including South Africa. Websites and blogs devoted to the musical history of South Africa during the apartheid era began to appear and our knowledge grew from there. It is interesting to note, however, that among the credits which are listed on Trevor's official site, only Rabbitt and Margaret Singana are included in regard to that era. And seeing that information is what originally sparked my curiosity and began my search, many years ago...a search which has been wholly rewarding in terms of discovering such an inspirational and amazing talent. I choose to believe that her inclusion was meant as a gesture of respect and affection on Trevor's part.
Margaret's initial progress from Queenstown to the City of Gold in the 1950s to become a singer was slowed due to the inherent limitations of the apartheid system, but at key moments her talent was readily recognized by those who could lend a hand, and her career began with local theatre and the hit single "Good Feeling," (credited to Margaret Singana and the Symbols) but she came to worldwide prominence in 1973 as a lead vocalist in the musical Ipi N'Tombi and its' cast album The Warrior. As the liner notes predict: Whatever the outcome we are sure that lead singer Margaret Singana must certainly gain international recognition based on her incredible performances on this album. When anti-apartheid protests put an end to touring of the production, back in Johannesburg she continued on with recording the albums which made her a song stylist success on both sides of the national charts, as well as inroads into the international market courtesy of a contract with Casablanca Records. And for this it was especially wonderful that she had Patric van Blerk, Julian Laxton, Allan Goldberg, and Trevor Rabin on her side. This is not to imply that any of those individuals should inhabit a "white saviour" type of role, but rather that at least they could put their power and privilege to better use by giving Margaret a platform through which to gain further popularity and reach. The popularity of these recordings led to success in terms of sales and awards, but sadly her momentum was halted by a stroke she suffered in 1978. Margaret eventually returned to singing, and recorded another great anthem in 1986, the Shaka Zulu theme song "We Are Growing" (produced by Julian Laxton) but even with her sporadic appearances in the music scene, her passing in 2000 was the tragic loss of a national treasure: penniless and neglected.
There is more than one reason to enjoy Margaret's body of work - not merely due to Trevor's involvement, but for the inherent joy of her singing, over a wide range of musical styles. But I do believe that one of the major achievements of Trevor's career in the South African era was the time and care he put into these albums, these songs, contributing to the effort of making Margaret a star by providing his musical best. His profession allowed him to cross the color line and work with whatever musicians he desired to, music serving as the universal language and connection between human beings. But it also illustrated how wide those divisions were, how unjust and morally reprehensible.
It has been a difficult task to discern between the myriad releases and re-releases of Margaret's discography, but after several years research I have been able to verify - as I initially ascertained - that there are four mid-70s era albums which Trevor worked on for her. I have noted, where applicable, the various editions and titles.
Lady Africa (1973)
Love Is The Power (1974)
Stand By Your Man (1975)
(aka Nomvula, reissued internationally as Where Is The Love in 1976)
Stand By Your Man (1975)
(aka Nomvula, reissued internationally as Where Is The Love in 1976)
Tribal Fence (1977)
(aka I Never Loved A Man)
Each album would usually feature at least a couple songs penned by Patric and Trevor, and this one from Stand By Your Man I think is particularly interesting, called "Open Your Mind." Trevor's music is a definite stone groove, an example of how he could compose in just about any idiom one could think of.
(aka I Never Loved A Man)
Each album would usually feature at least a couple songs penned by Patric and Trevor, and this one from Stand By Your Man I think is particularly interesting, called "Open Your Mind." Trevor's music is a definite stone groove, an example of how he could compose in just about any idiom one could think of.
Primarily Margaret's choice of material for her Jo'Burg releases was meant to be inclusive and populist, consisting of rock, pop, soul, disco and traditional selections. Some were performed in Xhosa, such as "Hamba Bikele" but most were English-language songs. Her voice was so incredibly powerful and yet could embody the emotional import of whatever song she applied it to, from the country classic "Stand By Your Man" to the disco celebration of "I Surrender."
This particular track is notable for Trevor's dominant presence as producer, arranger, and playing most every instrument (including drums) as well as backing vocals on the chorus. From Tribal Fence, Margaret's cover of "Have You Ever Seen The Rain?" (beginning at 6:29 in this video) featuring a reggae arrangement.
Another favorite of mine from Tribal Fence is "Why Did You Do It?" with Trevor's arrangement skirting the line between rock n'roll edge and funk groove - Trevor once again playing nearly everything, accompanied by Rabbitt bandmate Neil Cloud on drums. Trevor's bass playing provides a great bottom end on this one, in my opinion.
Though none of Margaret's Jo'Burg releases have been reissued on CD to my knowledge, the 1996 compilation Lady Africa is a fairly inclusive collection of material, although I would encourage those interested in hearing Margaret's music to search YouTube as well as resources such as the Soul Safari and ElectricJive music blogs for further selections - short of buying the actual albums, which I would recommend to serious collectors, especially Tribal Fence, as that album was primarily stewarded by Trevor and Julian, with Trevor arranging the songs on Side One and Julian arranging those on Side Two (labeled as "The Other Side of the Fence") in addition to their production and performing contributions. Julian also provided engineering and the "magic" mix.
