Sipho ‘Hotstix’ Mabuse on Gallo’s enduring legacy

Gallo Music, Africa’s oldest recording company, for 100 years has defined a local sound that is equal parts grit, grace, soul and sophistication.

Nobody understands this better than music icon Sipho “Hotstix” Mabuse, and he takes Sowetan down memory lane on the milestone centenary, which will be marked with a series of events kicking off in February next year.

What does 100 years of Gallo Music mean?

It’s iconic that a record company outlived larger record label companies, and it’s worth celebrating. There have been companies from the UK or US, but Gallo has stood the test of time.

How did it pave the way?

Sadly, one cannot divorce the apartheid status quo of that time from the music and its activities. But what’s critical with Gallo is that it paved a path where musicians and composers saw themselves as part of the gang. Yes, there were times when artists probably felt they were hard done by [by] the company, but as it evolved, Gallo became a completely different recording company, especially when Eric Gallo took over and ran the company.

Gallo had its struggles because it was operating within the middle of the apartheid structure. It’s understandable that, in trying to navigate a difficult path and avoid being seen as political, there were certain things they might have done differently.

Which was the most definitive era?

My generation of the 1960s had Mahlathini and the Mahotella Queens. We (music band Harari) came into a space more as a rock band of that time, while most of the artists were focused on mbaqanga, maskandi and so on. It was probably considered a backward genre because of apartheid.

Those who were educated felt it was not the kind of music they’d relate to, but because of our black consciousness influence, it became central to how we navigated and advanced the music we were making.

Gallo Music paved a path where musicians and composers saw themselves as part of the gang.

—  Sipho “Hotstix” Mabuse, musician.

I would perform at a whites-only club, but we were only allowed to dress up in the kitchen, alongside the workers. We weren’t allowed to mingle with the people we were performing for. We also had to allow white people to eat first before we could leave the venue. If we were found moving around after hours, we could be arrested or humiliated.

What kept you going?

Musicians and artists are God’s gift to humanity. Music is something natural, something we all love, and at times we don’t choose to become a vessel for it. Most of us are called upon to do this.

How would you describe your legacy under Gallo?

It’s that of a celebration. The relationship that I’ve had was the happiest and most productive years of my life, where most of the music I made over the past 60 years came through the record company.

I’m grateful I’ve been a member of the team alongside Mahlathini and the Mahotella Queens, and so on. The many names in the company made it possible for us to continue what we were doing.

What is the Gallo heritage?

I’m grateful that Gallo didn’t succumb to international pressure to give off that catalogue to bigger companies who wanted their cut. Gallo was adamant that this belongs to SA and it shall remain so.