Miriam Makeba - Miriam Makeba in Tokyo



Ô aria araia..... oba, oba, oba.....
Ô ô — ô — ô aria araia, oba, oba, oba.....

Mas, que nada
Sai da minha frente eu quero passar
É samba esta animado, pois eu quero é samba

Éste samba que é mistu de maracatu
É samba de preto velho, samba de preto du

Mas, que nada
0 samba como éste tão legal
Voçe não vai que eu chegue no final

Lonely, lonely, it can be so lonely
Waiting, hoping, longing to touch
And love, and be loved in return
Who are we, who needs love
Ask the rising sun

Lonely, lonely, it's a lonely feeling
Waiting, hating the time we lose away
Cast aside and then for the time
Who are we, who needs love
Ask the rising sun

Oh, the sun sees every tender leaf
That drifts to earth and trambles
Oh, the sun sees every stricken bird
That tries to fly and flounders
And the sun is not the distant thunder
Goother coats and rubbers

Oh, who take my hand of you who are so lovely
You yearning to look with longing to touch
And love and be loved in return
Who are we, who needs love
After the rising sun

If I could be a shimmering star
I'd shine now shine now how I would shine
Someone I love has promised to be
Mine now, mine now, someone is mine

So ring bell, ring bell
Tell the world that all is well
Ring bell, ring bell
Love is here and all is well

If I could be a beautiful song
I'd sing now sing now oh how I would sing
Warm is the sunlight in his eyes
It's spring now, spring now suddenly spring

Yes, yeah, yeah, just another day
But today everything is going my way
All is well, all is well, all is well, all is well

When the white man first came here
From over the seas
He looked and he said
"This is Gods own country"
He was mighty well pleased with this land
That he found and hes said
"I will make it my own piece of ground"

When many's the battle he still had to fight
And many's the black men who lived all around
And many's the family who died in the night
All of them wanting their own piece of ground

Then one fine day in 1883
Gold was discovered in great quantity
Now the country was rich
And was richer than planned
And each digger wanted his own piece of ground

Oh, yes, the white diggers were few
And the gold was so deep
Black men was called cause his labor was cheap
With tool and shovel it's all underground
Six pennies a day to tender the ground

Oh, now the country is so rich
And it seems strange to me
That the black men whose labor has helped it to be
Cannot enjoy the fruits that are bound
He's up-rooted and kicked from his own piece of ground

Oh, yes, some people say "Now don't you worry
We'll get you a nice piece of reserve territory"
But I'll give my life that ten million can be found
On a miserable 13 percent of the ground

Oh, yes, some people say "Now don't you worry
You can always find jobs in the white man's city"
"But don't stay too long and don't stay too deep
For you're bound to disturb the white men in his sleep

White men don't sleep long
And don't sleep too deep
For your life and possessions
How long will you keep

"Cause I've heard a rumor that's running around
For the black men's demanding
His own piece of ground, his own piece of ground
His own piece of ground, his own piece of ground

Saguqugasathi baganantsi pata pata
Saguqugasathi beganantsi pata pata
Saguqugasathi beganantsi pata pata
Saguqugasathi baganantsi pata pata

Hiyo mama hiyo ma nantsi pata pata
Hiyo mama hiyo ma nantsi pata pata
Hiyo mama hiyo ma nantsi pata pata
Hiyo mama hiyo ma nantsi pata pata

"Pata Pata" is the name of a dance
We do down Johannesburg way
And ev'rybody starts to move
As soon as Pata Pata begins to play

Ev'ry Friday and Saturday nights
It's Pata Pata time
The music keeps going all night long
Till the morning sun begins to shine

(SJET-8082) — 4 —


recorded 1968
issued 1968c
Victor, Japan
made in Japan
SJET 8082
matrix SREP 7240 A
matrix SREP 7240 B
33 rpm
white label promo
source: flatinternational Archive



1.1Jikele Maweni


1.2Mas Que Nada

(G. Bene)

1.3Click Song No.1 (Qoqotwane)

(Miriam Makeba)

1.4Ask the Rising Sun



(Letta Mbulu, arr. Miriam Makeba)

1.6Ring Bell, Ring Bell

(Weiss, Ragavoy)


(Makeba, Ragavoy)



2.9Hambe Naye


2.10A Piece of Ground

(Jeremy Taylor)


(E. Lobo, R. Guerra)

2.12Into Yam


2.13Pata Pata

(Ragavoy, Makeba)








Miriam Makeba in Tokyo is one of the rarest of her albums. Recorded in Japan on August 28th, 1968 this live album comes in the wake of her classic Pata Pata disc, which also marked the height of her US career. In Tokyo is Makeba’s second live release after In Concert! was recorded and issued the previous year in 1967. An earlier live recording of Makeba at Bern’s Salonger in Stockholm was made in 1966 and broadcast on Swedish Television in 1967 but was not issued until 2003. The DVD of the Swedish concert is simply stunning and I highly recommend it!

Makeba’s Japan tour came at a turbulent time for the singer and anti-apartheid activist. Four months earlier, in April of 1968, she had married Stokely Carmichael, the charismatic civil rights leader and president of the Student Nonviolent Coordinating Committee (SNCC). The marriage came with much media scrutiny including a full color spread in Ebony magazine. The FBI considered Carmichael to be a dangerous radical and extended its investigations to include Makeba. Soon recording contracts were dropped and performances canceled and by early 1969 the couple had left the US for Guinea. After her 1970 album Keep Me in Mind Makeba had no major-label releases in the US until the 1988 Sangoma.

In Tokyo offers many gems, most notably the first live recordings of Pata Pata and Malayisha. A Manhattan Brothers classic, Malayisha, had been issued as a single by Makeba but was not included on any of her albums at that time. The studio version eventually found a place on the CD reissue of Pata Pata. For me a notable track on the album is Makeba’s version of Jeremy Taylor’s A Piece of Ground taken from the musical Wait a Minim. Makeba first recorded this song on her album The Magnificent Miriam Makeba in 1966 and an alternative version is featured on the classic Pata Pata album as well as In Concert! The song sung live also gave Makeba the opportunity to subtly bring up race relations in South Africa and it is interesting to compare her almost identical intros to the song on both live albums.

The lineup on the Tokyo album includes Sivuca (on accordion and guitar), Leopoldo Fleming (on percussion)—both featured regularly on the majority of Makeba’s Reprise releases—and Jimmy Phillips on bass.

Interesting detail... notice the dresses Makeba and her backing vocalist are wearing? The same dress is also featured as a wall hanging in the cover image of Letta Mbulu's second album Free Soul which was similarly released in 1968. I had read somewhere that Mbulu had performed as backing vocalist with Makeba on some occasions, though I now cannot find this reference and so cannot confirm. It is difficult to tell but I wonder if the vocalist in the shadows of the cover could be Mbulu?

Listen to the album on Electric Jive.