‘GRACELAND’ STIRS INTEREST IN AFRICAN POP

Don’t be embarrassed if you’ve never heard of the album “The Indestructible Beat of Soweto,” even though the sampler of South African music was recently declared one of the 10 best LPs of 1986 in a survey of U.S. pop and rock critics.

Even most pop record buyers in Zimbabwe, one of the countries on South Africa’s northern border, wouldn’t recognize the names of most of the artists on the “Soweto” album.

Everest Chitagu, manager of the Spinalong record shop in the capital of Harare, said during Paul Simon’s concert weekend last month that it took the success of Simon’s “Graceland” album to get white music fans there interested in the records of black musicians from South Africa and Zimbabwe.

Chitagu, who is black, said most whites in town weren’t exposed to the music in the days before Zimbabwe’s independence in 1980 because they didn’t go to the black clubs. Though things have loosened up since 1980, most whites still assume there is little of value in the music.

“Or else,” said Chitagu, “the black artists would be signed by big (U.S. or British) record companies.”

But the rich, invigorating sounds of the South African rhythms on “Graceland” have caused many white buyers to begin checking out the “local” bins in his shop.

On the day after Simon’s second concert there, Chitagu placed orders for more copies of “Graceland” and for records by some of the musicians who played with Simon: Ladysmith Black Mambazo, the 10-member a cappella group, and Stimela, the band headed by guitarist Ray Phiri.

Don’t get the idea, however, that all black music from the region is worth pursuing. Many of records I sampled during the visit to Harare turned out to be watered-down versions of Western pop, funk and disco.

The best records, however, were inviting indeed--warm, exuberant music as joyful and embracing as such cross-cultural landmarks as the 1975 reggae sound track “The Harder They Come” and, closer to home, the New Orleans roots celebration of 1976’s “Wild Tchoupitoulas” LP.

Shanachie and Carthage, U.S. record companies that specialize in international pop, have done a good job of putting together packages from South Africa that should appeal to adventurous pop fans in this country. This is music so filled with vitality and spirit that even the language barrier doesn’t dampen its impact.

Just when “Graceland” has stirred international interest in black South African music, the issue of a cultural boycott has left many U.S. pop fans confused.

One faction of the anti-apartheid movement seems to say that Western music buyers should boycott any music produced in South Africa--even the music of black artists like Ladysmith and Stimela, and compilations like “The Indestructible Beat of Soweto.”

That suggestion angers Ray Phiri, the black South African guitarist who worked on the “Graceland” album. During an interview in Harare last month, he said, “To say we should be (boycotted) means we become victimized by the people (outside of South Africa) who say we are victims.

“This (“Graceland”) album and tour is giving every musician in South Africa hope . . . a chance (finally) to be heard by the rest of the world. Until now, there was no hope. (Record executives outside of South Africa) said there was no interest in our music . . . that it wasn’t commercial. How can you say . . . now that people are finally listening . . . that you are helping me by stopping me or my music coming to your country?”

M. D. Naidoo, chief press officer for the outlawed South African opposition movement African National Congress, also rejects the idea of a blanket boycott covering anything produced in South Africa.

In a recent interview with Britain’s New Musical Express, he said: “The ANC wants to see the maximum possible support for and the building of relationships with that part of South Africa which represents the people who are fighting for the overthrow of the apartheid regime and for the subsequent replacement of the apartheid system with a system of non-racial democracy.

“Anything that makes a positive contribution toward the exposure and overthrow of apartheid and which expresses support for a non-racial democracy must be supported. I hope that this distinction has been clarified, because I’ve read very often the tendency to identify the apartheid system with South Africa as a whole and then move on mechanically to a position of boycotting automatically anything from South Africa.”

Randall Grass, a spokesman for Shanachie Records, says there has been no backlash or consumer resistance to buying South African music on philosophical grounds.

On the boycott issue, he said by phone from the company’s office in New Jersey, “Our position is that this is great music that provides listeners around the world with insights into a culture that should be given attention and respect.”

A person listening to “Graceland” or some of the South African compilations for the first time is frequently surprised by the essentially happy flavor of the music. Where is the anger and poignancy of an oppressed people? This apparent contradiction is explored in exhaustive detail in David B. Coplan’s essential book, “In Township Tonight!” (Longman paperback).

A social historian and anthropologist, Coplan traces the music of South Africa back to the late 1600s when colonists visited Cape Town’s taverns on weekends to hear music played by slaves whose owners had bought them especially for their musical skills.

Coplan outlines the way the music played a strong part in the building of self-identity and pride among South African blacks even though the words often had to be tempered or camouflaged because of strict censorship in the country.

In another book, “Beats of the Heart” (Pantheon paperback), authors Jeremy Marre and Hannah Charlton touch on the same point. They quote an unnamed black poet now living in exile:

“Music created by black South Africa is a direct response to the apartheid system under which we are forced to live. In that way, it is uniquely South African music. It is defiant. It expresses the determination that every one of us will win freedom one day. It cannot be explicitly political, so it is subtle. It expresses in its tone, in the sound of the voice and sound of the instruments, the soul of the black South African.”

So where does the search for pop from Zimbabwe and South African begin?

Here are some ideal starting points. The albums represent some of the freshest and most uplifting music you’ll hear this year (Poo-Bah in Pasadena and Rhino in Westwood are two shops with good African collections.):

The Bhundu Boys’ “Shabini” (Discafrique import)--This five-piece band from Zimbabwe has been touring extensively in recent months in England and Scotland, gaining enough attention to be featured in a recent two-page spread in New Musical Express. The music on this album (available here only as an import) has much of the warm, block-party feel of the most down-home Los Lobos records. There’s a Caribbean flow to some of the tracks and a slight country tinge to others. Highly recommended.

Mahotella Queens’ “Izibani Zomgqashiyo” (Shanachie)--The most popular female vocal group in South Africa, the Queens have made numerous albums since their formation in 1964. This, however, is widely regarded as their most appealing. Their own soaring harmonies contrast playfully with the husky vocal offerings of male “groaners”--and the singing is backed by a spare but seductive, guitar-dominated music.

Ladysmith Black Mambazo’s “Inala” (Shanachie)--Simon has said the real heart of South African music is in vocals, and that strength is showcased in this a cappella group led by Joseph Shabalala. The music combines traditional, Western and church strains in an endearing manner filled with passion and wit. Two of the 10 songs here are in English, the rest in Zulu. “Inala” is one of three Ladysmith collections available in this country via Shanachie. Ladysmith in the group’s name refers to the musicians’ hometown, while Mambazo was adopted because Shabalala likens the group’s vocal phrasing to the sharp attack of an ax ( imbazo ). Others (along with albums by Stimela and the Soul Brothers, other South African bands admired by Simon) are available though Gallo Records, 12 Swansea St., Box 255, Bulawayo, Zimbabwe. Incidentally, the group members wear native costumes on the album cover for novelty effect. On stage, they normally dress in more modern attire.

“The Indestructible Beat of Soweto” (Shanachie)--These tracks, recorded between 1981 and 1985, salute the many variations of the dance-happy mbaqanga style. In these songs, you can see how the musicians have employed various touches--from gospel and country to reggae and blues--that will be familiar to Western pop fans without sacrificing their own lively, unpredictable African rhythms. As with Mambazo (who are featured on a track), there is much humor and zest.

“Phezulu Eqhudeni” (Carthage)--Even earlier (mid-’70s) and perhaps more inviting examples of the mbaqanga style than those found in “Indestructible Beat.” The Mahotella Queens are spotlighted on several tracks along with more of the pesky male “groaners.”