From making his singing debut in church at the age of seven, in 1961, to his first recording at the age of nineteen in 1973, thirty-four years later HERMAN FOX’s life and music career features a picturesque landscape that could easily make good material for an epic documentary.
Herman Fox is a seasoned, multi-skilled, self taught instrumentalist who uses his authorship and vocal abilities to craft Tsonga lyrics for his soothing melodic tunes. His music is entwined with social commentary and is often laced with an unassuming humour.
With the ever changing music landscape and global trends, Herman Fox’s music can today, be categorically described as WORLD MUSIC as it does not necessarily fit the mainstream. It however offers something that everyone can relate to: be it the lyrical content; the melody or simply the rhythm that binds it all.
At first glance, Herman’s quiet demeanour could be misconstrued as coyness, until you get closer to experience his humility and dynamic personality, whilst you enjoy his remarkable and simplistic approach to music, despite a career span that frills a legacy of over three decades.
With roots that stem from a lineage of royalty in Ribolwa, a village in the Limpopo province, Herman was born in the township of Pimville, where his parents had settled and amidst the political tensions of the time.
Herman’s love for music started in church. Every Sunday he would scamper along with the lady that was their landlord to a church in the neighbourhood, as he enjoyed singing in praise of the lord. It was there that he discovered his voice and where his potential was tapped.
He however, developed his passion from the dusty street of the township. A group of vocal and guitar playing musicians made up of aMabaca were a common sight in the township, and as with all children at the time, Herman would follow them around in awe of their craft. And often this road would lead to ga-Mme Mamokoto, a shebeen where these musicians would entertain hostel dwellers. Unbeknown to them, they had a student lurking in their shadows.
At the age of twelve, Herman made his first instrument: a four-string, paraffin-tin guitar that would not only set him on his path but that would also test his relationship with his father.
His father was adamantly opposed to the idea of him, being of royalty to pursue a path that would not distinguish him from commoners. He believed that kings were supposed to be entertained and not the other way around. This was to be a challenge for Herman: convincing his father to believe in him and be supportive of his dreams.
In those times, songs like ‘Iya guduz’indoda isele yodw’endilini…†filled the airwaves of Radio Bantu…and Herman had to upgrade his guitar to six strings to play along and mimic those sounds.
At the age of fifteen, the family moved to Chiawelo. Here, he started making money from basking on the streets, train stations and anywhere, where there were people to hear him. Only his mother was in on the secret and they both hid it from his father.
With the money made from these escapades, he saved enough to stun everyone:
He went to town and bought a drum kit, a Gallo amplifier and three guitars, not perturbed by minor details… he chuckles: “there was no electricity at home and I hadn’t thought of how I would carry all this stuffâ€
When the instruments were delivered at his home, his father was “shocked, surprised and excited…†and soon was forced to acknowledge his commitment to the art -form. Especially when he continued to practice without the guitars being plugged and when he eventually bought a generator.
One Sunday, whilst he was in the house playing his instruments, a stranger came knocking on their door and introduced himself as Bassie Mahlangu_ Bassie had heard him play and wanted to let him know that he can also play. Herman gave him a guitar to prove himself and the following week Bassie roped in Matthews Masindi to play the bass guitar.
In 1970 a trio was formed - Herman Fox had his first band.
In 1971, Phenias Manganyi, Herman’s uncle sponsored him with additional equipment including a microphone, key board and amps.
Again the band expanded and they soon called themselves “Moon Loversâ€.
The “Moon Lovers†were soon in demand and they were big in the wedding circuits, charging up to R50 for a Saturday-Sunday gig and complemented this by playing in the surrounding community halls in Soweto.
In 1973, he joined a new band called “Morpheuse Souls†and started performing at clubs everywhere, including Venus in Fordsburg and Grand Cinema in Eldorado Park.
This was also an era where they would do shows called “Akulalwa†where the party would go on into the dawn of the following day.
At the time, with politics as part of the backdrop, the live circuit was big in the township halls and it is there that they got to share a stage with some of the legendary icons to emerge from that era. These were artists such as the late Mpharanyane, The Cannibals, Black Hawks, Young Lovers to mention but a few.
1973 saw him record his first single, produced by the late Roxy Buthelezi; this was subsequently followed by many more.
Some of the producers that he would later work with, included: Strike Vilakazi, Elias Lerole (Gallo Records), Richard Seluma, Enoch Nondale and Thembinkosi Ntuli, as a member of a band called Kaya.
1995 marks yet another pivotal moment in his career. After a long-standing acquaintance with Kwaai-Jazz pioneer and maestro producer, DON LAKA, they decided to work together. This relationship blossomed into Herman Fox’s first Solo recording with Kalawa Jazzmee Records under the pseudo-name of KOTOPO and released an album called STRANGLER.
The album was soon followed by his second offering: TSAKANE TSAKANE (2001).
His third album, entitled VATSAKILE won him the 2004 MUNGHANI LONENE MUSIC AWARD.
In 2006, under BOKONE MUSIC, headed by Don Laka, he released his fourth album KAMOGELO.
2007 sees the release of yet another album, also produced by Don Laka entitled O TSOTSI MAGEZI. This album features three new creations and a collection of seven best tracks from previous releases.
Herman Fox has graced prestigious stages in South Africa and its neighbouring states, whilst he has performed alongside a diverse mix of young and old, prolific musicians such the late Allen Kwela, Brenda Fassie and Zakes Nkosi; Don Laka, Palesa, Mzwakhe Mbuli, Simphiwe Dana and other international artists such as Jimmy Witherspoon.
Throughout his journey from childhood to date, being both a teacher and student of life along the way, Herman’s mantra has always been RESPECT- respect for each and every person whose path crosses with yours in spite of their age, race, circumstance or background, because that is true service to God.
This is yet another quality that showcases the many layers that make the magic of Herman Fox continue to persist in more than three decades. In retrospect, despite his late father’s initial misgivings Herman Fox still continues to uphold a place of royalty in the kingdom he crafted from merely a dream guided by passion.For more information, contact
STUNKIE FAITH VUNDLA:
IZIKO LAKWANTU
cell: 0833174136
fax: 27.11 4872519
[email protected], selling 2 000 copies, prior to release, is got to be the CD for 2004, and with its Cross-Over Feel, it is going to change New Music
