Biography:

The Bhundu Boys were a Zimbabwean band that played a mixture of chimurenga music with American rock and roll, disco, country, and pop influences. Their style became known as jit, and is quite popular across Africa, with some international success, and has influenced later groups like Nehoreka and Mokoomba. British world music DJ Andy Kershaw said that at the height of their magical powers they were “…the single most natural, effortless, catchy pop band I’ve ever heard”;[1] the BBC’s John Peel famously broke down in tears the first time he saw the band perform live.[2]

The name came from bhundu (meaning “bush” or “jungle”), in reference to the young boys who used to aid the nationalist guerrilla fighters in the 1970s war against the white minority government of what was then Rhodesia.[3] Lead singer Biggie Tembo (Biggie Rodwell Tembo Marasha) was a Bhundu boy.

History

Beginnings

The Bhundu Boys recorded their first 7″ vinyl single (Une Shuwa Here) at Shed Studios in Harare in August 1982, as part of the Studio’s drive to sponsor more local music. They were one of a number of more adventurous bands that had not been contracted by the two record labels. Shed Studios was owned by Steve Roskilly and Martin Norris with engineering by Roskilly, Norris and house drummer, Bothwell Nyamhondera. They signed a formal 3 year recording contract with the studio in February 1983. A single was released on Shed Studio’s own Rugare Label almost every month, so as to build up a momentum and strong following. Between 1982 and 1986,[3] The Bhundu Boys thus reached the top of the Zimbabwean music scene, with four number one hits (“Baba Munini Francis”, “Wenhamo Haaneti”, “Hatisitose”, and “Tsvimbodzemoto”).

Success in the UK

They attracted the attention of Owen Elias and his colleague, musician Champion Doug Veitch, who released an EP by the band in the UK under licence from Shed Studios in 1985. This attracted the attention of DJ’s John Peel and Andy Kershaw who promoted the band on BBC Radio. In September 1985 the Studio gave notice to extend the contract for a further 3 years and the band continued to record. Given the attention of Peel and Kershaw, under further licence from Shed Studios, their first UK album, Shabhini, was released on the Discafrique label in 1986. This was a compilation of music already released in Zimbabwe.

The band travelled to UK in 1986 for a live tour organised by Elias, and Scottish graphic artist Gordon Muir[4] became their manager. After touring the UK for a year, basing themselves initially in Hawick, Scotland with Muir and travelling relentlessly, the band appeared to be on the brink of a major commercial breakthrough.[3] They were feted by Eric Clapton and Elvis Costello and Madonna asked them to be her support act at Wembley Stadium in 1987.[3]

In October 1986, just as the band’s second UK album Tsvimbodzemoto was about to be released in UK, on the Discafrique label by Elias, they met with Roskilly and requested that their Shed Studios contract be terminated early as manager Muir wanted to sign them to Warner Bros. Records.[5] This was a monumental blow to the Studios and to Roskilly their erstwhile producer, in particular. It was however agreed that the contract would be nullified in return for all rights associated with existing Shed recordings, being assigned to Shed Studios in perpetuity. In practice, Shed Studios continued to pay writer’s publishing royalties. Controversially, much of their £80,000 advance from WEA was spent buying a house in Kensal Rise, West London that as of 2006 was still a source of dispute.[1] The band played in North America, Australia and Hong Kong. But the first WEA album True Jit, produced by Robin Millar, was considered too far a jump in style from their original Shed Studios’ recordings (produced by Steve Roskilly) and was unfavourably received.[3]

Credits: