WORDS BY SKA HEAD

There was a time when everything in my life was about punk rock music, largely due to the fact that it always seemed to be the soundtrack to the numerous surf and skate films I devoured as a grommet (surf kid).

My introduction to Californian surf and skate punk rock led me to discover another genre called “ska”. At the very impressionable age of 15, I was duped by the two other “punks” I knew at school into believing that “ska” was a bastardised hybrid of punk and reggae. Played predominately by bands such as Less Than Jake and Reel Big Fish. After further investigation I discovered that “ska” was paramount in helping conceive a lot of popular Jamaican music as well as being the predecessor to reggae and dub.

I started to enjoy “ska” and the more I got into the genre, the less I liked the American ska-punk variety. I liked the ska from Jamaica, and if it wasn’t  from Jamaica it had to at least sound as if it was inspired by the island nation.

One faithful day in the music store (somewhere in the late 90’s when people still bought CDs), I surreptitiously stumbled upon an album originally pressed in 1979 by a band called The Specials. I had heard of this band before, and soon after reading the liner notes in the album after purchasing it, I discovered that none other than Elvis Costello (songwriting 70’s icon) had produced this fantastic piece of music.

I’d later learn as my opinion of ska/reggae and dub became more informed, that this album marked a turning point not just for British music but also for racial unity in the UK as well.

The Specials were part of a movement that they had a huge role in creating – that movement was called 2Tone. With the introduction of this new musical revolution came a record label with the same name.

“2-Tone was conceived and aesthetically overseen by The Specials’ Jerry Dammers, and launched from Coventry. They released records by Madness, Specials, The Beat, The Selecter, ska veteran Rico, and later, the punk-funk of The Higsons. The bands featured black and white members on an even footing, which was still pretty unusual. They recycled Sixties Ska, injecting its tight-or-nowhere riddims with punk’s ragged energy and witty, direct socio-political lyrics that pulled no punches in stories about unfortunate characters that were half familiar and wholly believable”.-David Laurie July 18, 2016 (https://sabotagetimes.com/music/how-ska-2tone-woke-up-the-country)

So when I recently revisited the debut Specials album (circa 2018), after all those years, I couldn’t help but still hear the relevance behind some of the words, the relevance that could easily be imparted into a South African context some 40 years later. With lyrics addressing certain social dilemmas of the time.

Punks’ Racist underbelly  in 70’s England:

Research soon became vital to my existence so I delved, deeper than ever before into my obsession with “punk” and its various ideologies and movements. Often my readings led me to the blatant racist activities and ideals of some of the punk related sub-genres which were prevalent during 1970’s England.The word ‘skinhead’ started getting thrown around, and an organisation called The National Front was introduced into my vocabulary for the first time.

“Skinhead culture faded in the early ‘70s, but revived as a response to the commercialization of punk at the end of the decade. At the same time, many skinheads became involved in far-right and racist politics.Some factions of skinheads had previously been known to attack immigrants and gay people in addition to their usual brawling; now many were openly sporting swastikas and giving Nazi salutes. By the mid-1980s, the term “skinhead” had become synonymous with neo-Nazism, fascism and xenophobia”. -Alex Q. Arbuckle (https://mashable.com/2016/03/29/british-skinheads/#0FqepdiiMgqC)

Although skinhead culture wasn’t all about racism and white power, it seemed a lot of the rhetoric being thrown around just before the late 70’s was violently bigoted. And sadly there was a cloud of racism hanging over the British underground musical subcultures.

Bands such as The Specials were hell bent on changing this ugly part of the UK underground around the late ’70s. White working-class youth found themselves sharing space with Jamaican immigrants. Clashes started to happen, but with these clashes came the birth of something new, interesting and inclusive for British culture.

“Whilst some of the acts may not even have recognised it as such, having black and white musicians on the same stage was a political act in itself in the late 70’s. The decade had seen the growth of the British Movement (BM) and the National Front (NF) not just as political forces electorally but with boots on the ground as violence and extremism made its way onto the streets. The BM standing on an explicitly Nazi manifesto and including images of Adolf Hitler on their election material managed to secure over 300 votes in the Birmingham Ladywood By-election in 1969. Meanwhile rival far-right organisation the NF polled just under 200,000 votes in the 1979 General Election. Many of the early 2-Tone gigs were marred by fights and violence as far-right skinheads fought with black youth and anti-Nazis. Young people wearing the clothes, buying the records and associating with the 2-Tone scene were making a political statement against racism and for multiculturalism. The courage this took in many parts of British cities should not be underestimated. To underline this point, guitarist Lynval Golding was attacked simply for walking down the street in London with two white girls and had ended up hospitalised with 29 stitches in the head and neck”. -Graeme McIver (http://www.thepointhowever.org/index.php/culture/226-the-dawning-of-a-new-era-a-brief-history-of-2-tone-and-the-specials)

South Africa in the 80’s:

While The Specials started becoming a pop sensation in England, Europe and the world, South Africa was experiencing the dying days of Apartheid and the situation was reaching boiling point. Violence was rampant all over the country, and the rest of the world was starting to take notice of how bad the situation was becoming in South Africa.

“There was little change in the situation from the late 1970s to the early 1980s in South Africa. After the crisis of the early and mid-70s, the government’s ‘total onslaught’ had managed to suppress much unrest and had it under some measure of control. With leaders from the 1976 uprising either imprisoned or exiled, the liberation struggle did not move forward much. It was in this climate that anti-apartheid organizations in the country realized that they needed flexible structures and leadership to survive in the future, as well as have a mass movement focus. This would facilitate the continuation of resistance even when the government imprisoned major leaders. The obvious importance of unity was also acted on”. –https://www.sahistory.org.za/article/apartheid-early-1980s

How The Specials played a part in the anti-apartheid movement:

Finally, the world was becoming aware of the horrors of apartheid, sanctions started to be imposed, and people of notoriety were speaking up globally against the situation in South Africa. It was becoming widely unanimous that apartheid wasn’t good for humanity, and wasn’t good for the future of South Africa or the world.

In the year 1984, The Specials released a track to stand in solidarity with the ANC (African National Congress) and it was their way of showing their disdain for the unjust system in South Africa. The song was regarded to be a catalyst and a contributing message to enable the end of this plague that kept a country hostage for several decades. The song was simply titled “Free Nelson Mandela” and the lyrics were presented in a simple and understandable way to get the message across loud and clear.

Free Nelson Mandela – The Specials AKA (1984):

Free, free, free, free, free

Nelson Mandela

Free Nelson Mandela

Twenty-one years in captivity

Shoes too small to fit his feet

His body abused but his mind is still free

Are you so blind that you cannot see?

I said free Nelson Mandela

I’m begging you, free Nelson Mandela

Pleaded the causes at the ANC

Only one there in a large army

Are you so blind that you cannot see?

Are you so deaf that you cannot hear his plea?

Free Nelson Mandela

I’m begging you, free Nelson Mandela

Twenty-one years in captivity

Are you so blind that you cannot see?

Are you so deaf that you cannot hear?

Are you so dumb that you cannot speak?

I said free Nelson Mandela

I’m begging you, free Nelson Mandela

Free Nelson Mandela

Although it was just one song, amongst a myriad of world-wide protests against the oppressive regime, it seemed to become somewhat of an anthem for the anti-apartheid movement globally, and this was also heightened by the fact that the song became a top ten hit.

CNN would later reflect on this jivy pop-ska anthem which saw the band take on a more South African groove in the arrangements and composition. It could even possibly be compared to similar South African bands during this period, maybe this statement will be met with contention, but Mango Groove comes to mind. Especially with the layered and harmonious back up chant of “free, free, Nelson Mandela”.

“The anti-apartheid message was serious and heartfelt but the song that alerted many around the world to the injustices of the South African regime could not have been more upbeat. “Free Nelson Mandela” was a Top 10 hit in the United Kingdom for The Special AKA in 1984, and it instantly became the unofficial anthem and slogan for the international anti-apartheid movement”. – Peter Wilkinson 2013 (http://edition.cnn.com/2013/12/06/showbiz/south-africa-mandela-protest-song/index.html)

One of the founding members of The Specials was made aware of the wrongs that was happening in South Africa in 1983 after he attended an anti-apartheid concert. The keyboardist and songwriter had never even heard of the man before this period.

“The composer of “Free Nelson Mandela,” Jerry Dammers — the founder of the multiracial English ska-punk band The Specials, later renamed The Special AKA — admits he knew little about Mandela before he attended an anti-apartheid concert in London in 1983, which gave him the idea for the song”. — Peter Wilkinson 2013

(http://edition.cnn.com/2013/12/06/showbiz/south-africa-mandela-protest-song/index.html)

The Specials in 2019 and the release of their new album Encore:

A few weeks or so ago, an image on my Twitter feed popped up : “New The Specials Album out tomorrow”. It goes without saying that I was excited, it’s incredible to see a band still putting out music almost 40 years after they started, and their sound and message is still relevant. I quickly searched YouTube to see if I could find a song and I was pleasantly surprised by the first single “Vote For Me”, which is a politically charged ska-anthem which music journalists and fans say, is in a similar vein to their 1981 hauntingly sublime hit – Ghost Town.

The song Ghost Town would later be praised for its accuracy in documenting the devastation and desolation of Margaret Thatcher era Britain, as reported by the BBC.

“Few songs evoke their era like the Specials’ classic Ghost Town, a depiction of social breakdown that provided the soundtrack to an explosion of civil unrest. Released on 20 June 1981 against a backdrop of rising unemployment, its blend of melancholy, unease and menace took on an entirely new meaning when Britain’s streets erupted into rioting almost three weeks later – the day before Ghost Town reached number one in the charts”. -Jon Kelly (2001) –https://www.bbc.com/news/magazine-13780074

In Vote For Me, the message of protest music that has spanned decades remains true, that politicians do not have our best interest at heart, with lyrics that could very well be a call to arms, in a similar vein to “Free Nelson Mandela”. Yet this time around it seems the message is personal and a lot closer to home.

You’re all so drunk on money and power

Inside your Ivory tower

Teaching us not to be smart

Making laws that serve to protect you

But we will never forget that

You tore our families apart

Except taken from Vote For Me – The Specials – Encore 2019

A new kind of activism with “10 Commandments” the second single on Encore:

Essentially, The Specials started out as a band who paid homage to a lot of Jamaican music during the 1960’s. Their debut album was littered with popular Jamaican classics, with a new edgy Coventry punk rock undercurrent. Its what gave the band it’s power.

However, in any culture it’s necessary to take a conscious look at the past and readjust things to suit a contemporary message, yet also make right some of the wrongs of the reggae subculture. Bob Marley preached love and unity, yet it’s hard to ignore the ugly sides of Jamaican and reggae music. It can often be soaked in patriarchy, misogyny and homophobia. Some of the biggest names in reggae have openly spread a violent homophobic message including reggae or dancehall public property such as Buju Banton or Sizzla.

 “Jamaica has a bad reputation for anti-gay prejudice. This small island in the Caribbean has become notorious not only for its anti-gay laws, political rhetoric and murders, but also for its broad societal acceptance of severe sexual prejudice and openly hostile music.” -theguardian.com/commentisfree/2014/jun/06/jamaica-music-anti-gay-dancehall-homophobia

One of the genres’ most liked and respected artists is Prince Buster. But on a track from 1967 titled “The 10 commandments of man”,  it’s clear after listening to the song that its soaked in sexist undercurrents. Even though you can hear the tone is light and the artist in question is using humour, it’s still cluttered with problematic or even violent themes, especially in the current political climate of the “me too” movement.

The Specials decided to do a remix of this classic yet controversial ska-tune, yet this time collaborating with 21 year activist Saffiyah Khan. Khan rose to prominence a few years ago, after a photograph of her bravely facing an  English Defence League activist at a protest outside a Birmingham Library went viral.

“Horace Panter, bass player and founding member of The Specials, happily admits the Prince was a big influence on why he started things in the first place.”The band had done a cover of Enjoy Yourself and sampled Al Capone on Gangsters,” he remembers.”But Ten Commandments has not travelled very well, and from listening to it again it felt important to do a contemporary version.”The problem is our attempts ended up sounding like comedy versions of the song.”It led to the idea of turning it “completely on its head” by getting a woman to do the vocals – and getting Khan onboard injected real excitement”.- David Schaffer 8 February 2019

(https://www.bbc.com/news/uk-england-47147069?fbclid=IwAR2nsdi8pkPlvC1hOkXeI4LtDT6g7CSW0TL9E_-oYAAmmDsWGfcGzvMAf7Y)

When the song was released as a lyric video on Youtube, the comments section erupted Many were praising the band for the message, yet some where utterly horrified.

“Great music!  Lyrics are expressed as forcefully as Prince Buster did over 50 years ago…updated  – Told by a woman with an ego-driven message too…she put PB’s version up for a great challenge…I think this Specials version is going to be remembered for decades” -KTWOA

“Shockingly bad… Disrespectful to Prince Buster r.i.p” -CAZCOUNTRY70

“Specials cashing in on neo liberalism…not edgy in the slightest just more of the same ….disappointed fan” -Dc Marvel

“The specials have really gone down hill, to have this wannabe feminist far left nobody singing for them is pathetic. The original Prince buster would turn in his grave if he heard this shit.” -snodds88

“Men offended in the comment section are either  heteronormed straight white men born in a first world country within a privileged middle class family… or they’re completely blind”. -Maria Paula CB

True protest music creates contention and debate, and that’s exactly what 10 Commandments does. The fact that they allowed Khan complete creative control with the words is testament  that The Specials are a band willing to bring new life to old traditions, in order to change perceptions and do something original.

Their multi-cultural message was met with equal contention and violence from white power groups like the National Front at some of the 2 Tone concerts of 1970’s Coventry. Now they are creating a stir on the Internet. Showing that even though the band is roughly 40 years old, they are still contemporary or even post-modern in their focused intent on sparking debate and conversation.

I’ll let you decide what you feel about both versions with the lyrics presented below:

The Ten Commandments of Man – Prince Buster – 1967:

The Ten Commandments from man given to woman

Through the inspiration of I, Prince Buster

One, thou shall have no other man but me

Two, thou shall not encourage no man to make love to you

Neither kiss nor caress you

For I am your man, a very jealous man

And is ready to lay low any other man that may intrude in our love

Three, remember to kiss and caress me

Honor and obey me, in my every whim and fancy

Seven days a week and twice on Sundays

Because at no time will I ever be tired of I-T, it

Honor my name so that every other woman may honor it also

Five, thou shall not provoke me to anger

Or my wrath will descend upon you heavily

Commandment Six, thou shall not search my pockets at night

Or annoy me with your hearsays

Commandment Seven, thou shall not shout my name in the streets

If I’m walking with another woman

But wait intelligently until I come home

Then we both can have it out decently

For I am your man, a funny man

And detest a scandal in public places

Commandment Eight, thou shall not drink, nor smoke

Nor use profane language

For those bad habits I will not stand for

Nine, thou shall not commit adultery

For the world will not hold me guilty if I commit

Murder

Ten, thou shall not covet thy neighbor’s dress

Nor her shoes, nor her bureau, nor her bed, nor her hat

Nor anything that’s hers

Neither shall thou call my attention to anything that may be for sale

In any stores, for I will not give thee anything but what

You actually need for your purpose

Those are the Ten Commandments given from man to woman

By me, Prince Buster

10 Commandments – The Specials words by Saffiyah Khan – 2019:

The commandments of I, Saffiyah Khan

Thou shall not listen to Prince Buster

Or any other man offering kindly advice

In matters of my own conduct

You may call me a feminazi or a femoid

And then see if I give a stinking shit

Pseudointellectuals on the internet

They tell me I’m unhappy because I’m not feminine

Failing to consider that I may be unhappy

Because it’s 3 AM and I’m in the depths of YouTube

Watching them… whining

Thou may catcall me on the street

But thou should take note that I’ll catcall you right back

To tell you that you look pretty sexy too in your joggers

Or your suit, or your new-found look of confusion

Girls should not turn on each other

Or use man-made ideals like paths

Don’t you realize that you’re only making a fool of yourself

When you ask… “Why don’t you wear makeup?”

Is that what it takes to impress a bloke

Whose brain is made up of promises of curvy size zeros

And anti-gravity tits?

Thou shall not tell a girl she deserved it

Because her skirt was too short

She walked home, streets lights illuminating her as a target

But she started it, because she looked at him

And he finished it ’cause he wanted to

And they’ll bring out her skirt as “exhibit A” before the judge

And she should have the right to say

“Thou shall not tell me what to wear

Nor how to wear it”

I shall not be the icing on your cake

And I shall not be the candy on your arm

But I shall be seen

And I will be heard

The commandments of I, Saffiyah Khan

Pseudointellectuals

Stay tuned for the album review of Encore coming soon to Aweh.online

With a fiercely independent approach to the music industry and a sound which focuses on unity and healing instead of hatred and division, The Sun Xa Experiment is poised to become the next big thing out of Soweto, following in the footsteps of other “Afropunk” bands from the area including BCUC (Bantu Continua Uhuru Consciousness). Since 2014 they have been mixing the chemicals in the groove laboratory to develop a sound, feeling and live show which is entirely their own. 7 extremely unique individuals make up the band, where traditional rock and roll instruments collide, with deep-rooted, African drums, chants and a ritualistic spirituality that creates a culturally fascinating experience, which incorporates, other elements of the performing arts into the show. Which is evident in the delivery and aesthetic of the band members and performance. Watching a Sun Xa Experiment is almost like watching an oil painting being painstakingly made in real time, right before your very eyes. Its pure art and the dedication and commitment of every member is clearly evident every time they get up on stage.

However, with every successful act, there is a driving force behind the scenes, pulling the strings and pushing the project forward. Lebohang More is that individual in Sun Xa, and he has taken the role of the most unforgiving job in the world – the band manager. We caught up with this dedicated born and bred Sowetan, to find out exactly what makes this band so special.

1. Firstly can you give me your name, age and what you do for a living?

Hello, my name is Lebohang More and I am 34 years old. What I actually do is I use 80% of my creative mind and I deal with ideas, and I also manage 3 projects (bands) through Digging Thoughts (Pty) Ltd.

2.  What is that like being a manager in the South African music industry and how did you get into music in the first place?

It is the most challenging work as every day is a new day, new application, new event hunt, it never becomes old. I got involved in the music industry by making hip hop beats. I used to be an avid beat maker and produced a couple of albums and featured on a few compilations. I am a hip hop DJ and jazz/ancestral and world music selector. That is how I got into the music industry. Through time, I eventually found myself in a managerial position. It has been an amazing journey so far.

3. You are based in Soweto, seems the area has had a massive revival in the punk/rock and afro music genres, with bands like TCIYF, BCUC and various other edgier genres doing well both internationally and locally and all coming out of Soweto. Sun Xa seems to be a part of this scene in some way. What is like to live and experience this energy every day? And what do you think the future holds for the Sowetan underground music scene?

Yes, I am from the heart of Soweto, it is such a beautiful time to live in this area. It keeps us as a band on our toes since we are an independent movement. Bands you mentioned like BCUC put in a lot of work and that can only reverberate, good energy towards us. However the energy is not always clear in Soweto amongst bands. This (somewhat) lack of unity might cripple a great looking future for our industry as Sowetans.

However, the future is looking bright as many bands are coming out and the talent is emerging. I like the newer developing bands more, as they are exciting and it’s awesome experiencing their passion. We just need to nurture newer artists and create a sustainable music industry from Soweto.

4. Tell us a little about Sun Xa, what is the music all about and how did you get involved?

The Sun Xa Experiment I consider it as a family name first and foremost, a clan, a living body. Sun Xa Experiment is also a musical band that brings out a message for healing and love, it is an ancestral awakening, and our truth. The music is purely about spiritual upliftment and the influence of good. It is a voice for the lesser.

I got involved from its inception as the music started out with two guys, Tebogo and myself chopping up records by Ndhiko Xaba – Sunset and various angles from Sun Ra. The fusion of the samples over programmed drums gave birth to Sun Xa then later it became Sun Xa Experiment because it evolved into a full band and that’s when I stepped to the side to take care of the business aspect. 

5. Tell us a little bit about Soweto, what is it like to live there and did you grow up there?

Soweto is not just a campsite for all our families but it is home to a lot of great people in our country, from politics, to sports to acting to music. It’s the birthplace of Kwaito Music and growing up there and living there is an amazing experience. The township on its own has become the capital mother of the system and before it became a suburb, we had the best of times going to hip hop sessions, to attending events like Lokxion live and Street Pop Culture. This is where live music used to be very alive. Soweto is that space where your neighbour is a banker, your other makhelwane (neighbour) is in expropriation and your best friend is a lawyer then you are a musician, which is the scene I grew up in. A Messed up chaos, but beautiful chaos nevertheless.

6. The Sun Xa Experiment seems to be making some big moves at the moment. What does the future hold for the band?

Thank you, yes the guys are putting in work and it’s amazing how they keep being driven and the future looks bright if we can build now at the present. We are currently building the movement with other artists to work with on tours around the country and to collaborate with as many artists as we can. This is us preparing for the future and we couldn’t be more excited.

7. You guys have a very clear message of healing, why do you think this is so vitally important for a diverse South African audience at a turning point in the history of the country?

Healing comes in many formats and we also heal ourselves with every performance. It is important for our country to hear our message as the music helps everyone and reminds individuals of who they are and where they come from. Whether black, coloured, white or Indian, the beautiful thing about musics healing properties is that it doesn’t have any prejudice towards who is receiving the message. It just catches you as a listener which is very important to us.

8. You guys seem to have a strong connection to Durban, so why do you frequent this city so much?

Apart from my first born son being born in Wentworth Hospital in Durban, and my fiancée coming from Lamontville Durban, I think for us as Digging Thoughts as a company we found a home down there and the respect we received from the people gave us that feeling of Durban being a second home to us. Also for every event we did, we connected with inspiring people and created families all over Durban and that is what keeps us amped to come back. We love it there. It has become our other “city” of choice where we just book bus and flights down. We also have been working quite closely with Ryan Van Rooyen as well, who has been booking the band many shows in the city for quite some time now.

9. What do you think are some of the biggest challenges for local bands trying to make it in the music industry at the moment?

 The choices musicians make:

Choices how? This is how…the way we accept gigs, the type of gigs we take, the type of deals we make, that is the part that bands face as a challenge and lack of representation (Manager/PR). I always tell bands to choose wisely and if you want to put your name out there, keep rehearsing and be available at all times. Never put money first, but put it second as payment and reward. The music industry currently allows a lot of room for independence and that is how they crook you, because you as the musician accepts contracts or gigs without thinking of real benefits, but for the name of rocking the stage. We do not stop to think, and also a lot of musicians are not being professional.  What I have noticed is that they are always scouting for talent but talent is not prepared sometimes, and that makes it difficult for bands to crack it.

10. Any plans for international tours anytime soon?

Yes. We are currently having discussions with a booking agent from the Netherlands, and are talking about gigs for 2020. At the moment we are still busy in our home country. We will keep Aweh publication updated on this movement. Our aim is to try being part of the move to Europe so we can do what we do in our country, but over there.

11. What sets Sun Xa apart from other bands doing similar things?

Constant rehearsals, spending almost 6 days of each week together even outside the band, and our vision as the band.

12. Tell us a bit about the members, their contribution to the band and what makes them so unique?

Cool. Firstly what makes them all unique is they are all self-taught and are very driven and dedicated.

Buyisiwe Njoko – is the lead vocalist who is also co-founder of Digging Thoughts (Pty) Ltd. and her roles not only include singing, but off stage activities for the project including a lot of admin, document typing, proposals and representing us on the media front.

Tebogo Mkhize – Original founder of Sun Xa Experiment who started out playing the Drums then moved to Guitar when Bopha came. He plays Acoustic Guitar.

Karolo More – Dancer and energy propellant during the experiment performances and he also does adlibs.

Benedict Watte – plays a wide range of percussion for the band and is also a solid poet.

Lerato Seitei – Electric Guitar, plays bass as well and is also a very good vocalist and is the oldest in the band and his role is the most important as the oldest, meaning in every idea we do we first ask him.

Musa Zwane – plays bass for The Experiment and also guitar for Shameless Band, a very good composer as well and vocalist who is very creative and smart and he also has a good ear.

Siphiwe Mgidi – Drummer for the band and does adlibs where he contributes many other sounds to the music, including percussion and whistles. 

13. The best and worst part of the music industry?

Best Part – being independent at this day in time whereby you determine your next moves and you do not have to wait for a phone call.

The Worst Part – seeing events and festivals being postponed, that is scary as it means that bands and musicians who are relying on music for their income have fewer opportunities.

14. What other bands and projects are you involved in?

TUG Time Unveils God – Live hip hop band who happen to be the first band in South Africa that is straight hip hop. Their message is also about awakening and introspection, their music speaks of a Black God whereby it translates to the ghetto youth that since God is made in our image as the global community. Meaning the God energy comes in all shapes colours and sizes and that they must remember that they too are gods. Other songs talk about- soul healing as well.

Zen Groove Project – Heavy percussion based ensemble by Sabelo, who is a former traveler and percussionist for the African Footprint. The project also is dedicated to the current souls and its sounds are also for reaching out and touching lives and writing history anew.

15. Anything you would like to add?

We are music and music is one harmony, the best part was the Cape Town tour and performing with Cami Scoundrel. We are ready for anything anytime and we are very dedicated. Thank you for interviewing me.