I’m not really sure why but right from the start of my days as a recording artist I was collaborating with some of the cream of SA hip-hop. It’s been one of the greatest privileges of my career thus far because I think it’s given me an inside perspective on the on-going search for a truly South African sound. Hip-hop is no doubt a part of this & as the years go on, it’s clear to see how we are creating our own unique brand.

I can recall early days, after I had graduated from college. My 1st form of income was vocal coaching which I still do. I remember one of the young students studying sound engineering was a little known lad at the time, Proverb. I did not know the extent of his talent but he knew I could sing a little.

A year or so later & I was recording my 1st album with Ghetto Ruff. Naturally I got to dip into their hip-hop resources. 1st up was working with Amu, short for Ammunition. It was my 1st glimpse at how rappers work in studio. His requirement here was to rap over a swung Latin hip-hop beat for a song called Letting Go. I loved his approach, as laid back as you could imagine. Totally on point.

Next up was Pitch Black Afro. One of Cleo’s discoveries, he had something very unique, very different. I asked him to be on a song called Restless. A very retro, funky number where in a nutshell I’m desperate for some “time” with my lady. He threw in Zulu & his mix of Tsotsi-taal rap which for me really felt like Busta Rhymes from Africa. He was quick & animated & it translated to the song! That session definitely got me thinking about the evolution of SA hip-hop. I’ve always felt that Kwaito would evolve & couldn’t remain as it was. Hearing Pitch Black Afro got me wondering if the lines between local hip-hop & Kwaito weren’t blurring. If anything, with Cleo’s experience in Kwaito, Pitch Black Afro’s Styling Gel album would be one of the albums to start the transformation.

While finishing up my 1st album at Jazzworx in mid 2003, I bumped into another future SA hip-hop star, HHP. My 1st experience with Jabba was a short one but more ragga than hip-hop. The song he was rapping over was very much on the “Ragga” tip. To my surprise, the guy who I had been told was a rapper was giving me full on ragga, melodic, the right tone & even stacking harmonies. What I very much realized is that this guy, HHP was not just another rapper. He had a seriously musical side to himself. That track never made it on my 1st album & eventually got onto my 2nd album in 2007/2008 but of course by the time that was released Jabba had become a house-hold name & a hip-hop legend. He seemed to be the guy that had cemented the link between Hip-hop & Kwaito. A new movement known as Mostwako. No surprise really, not with a name like Hip-Hop Pantsula.

After the release of my 1st album Who I Am, I met up with a now rising star Proverb. We recorded a song I strongly believed was one of my best melodies. A few months later it got canned due to a fall out between Pro & his music producer at the time. I was bitterly disappointed. Months after that, I just happened to walk into a studio where Slikour from the most successful SA Hip-hop group Skwatta Kamp was playing a song he wanted another guy to sing over. It was the song I did with Pro, it still had some of my harmonies on it. I interjected & insisted I sing on that song. Slikour said he was cool with it but wanted to hear what I would do. I took it home, listened to his lyrics so I could modify what I had written lyrically on Pro’s version. Slikour’s lyrics blew me away, they were honest & talking about everyone, how people had lost hope, speaking about a nation & telling them to stand up & start dreaming again. For me, easily was one of the best post ’94 conscious songs! It was clear that this guy was a great thinker & someone who would transcend being just another rapper.

From there, a pool of Hip-hop acts passed my way. Tumi from The Volume had a hit with This Is Not Love, some work with pre-Jozi Bongani Fassie & Les, Shugasmakx, Kwesta & several songs on Slikour’s 2nd solo project. That led me to the final touches on my 2nd album, Swimming in the Soul of Music.

I needed a rap section on a song called Shut-Up. The name Zubz was mentioned & we called him in. I was wondering how a rapper would flow on an un-typical hip-hop track. I left him alone for about an hour. Came back in & started recording. He was flowing to the groove like Kelly Slater surfing on a wave! Lyrically, he got my message, it’s a complicated song because in essence it’s about the one thing you wish you could say in a fight with a girlfriend of boyfriend, Shut-up! He did it in a way that was clear, sometimes harsh but yet still came across as fair. Since that Zubz & I have collaborated on his last album, Cochlea. I have to say its truly sad when a great creative album, a work of art like Cochlea gets no credit & not even one nomination for a SAMA. It’s shameful how we punt the trash. All we are doing then is sending our industry backwards when albums trying to elevate the standard are ignored. It’s a shame but there are people out there like me who feel this way & we will not go down without a fight.

Hip-hop is clearly here to stay & it’s clear that as South Africans, we are finding our own brand of Hip-hop. I may not be part of it but I can see its importance & impact & no doubt the next generation aka the JRs & others will keep the standard rising!