Oskido Shaping South African Music & Dance Across Generations

MUSIC

The musician and DJ traces his path from Razzmatazz nights to kwaito’s birth, house’s rise, and his latest mission to remix the past into the future.

Few artists have managed to move across time and space with the ease of Oskido. A vital force in South Africa’s music ecosystem, he has been instrumental in shaping entire movements – from his early days as a DJ in Hillbrow, to co-founding Kalawa Jazmee with Don Laka and DJ Christos, to pioneering house music culture through compilations, licensed projects, and his own productions. And that’s only the beginning. Decades in, Oskido continues to chase the next thrill, keeping his ear close to the ground and catching frequencies many of us might miss.

Oskido’s latest endeavor, the Afro House Heritage Project, opens his rich archive to a new generation of producers, inviting them to reimagine his classics through the lens of contemporary South African electronic music. When he speaks to OkayAfrica, the weight of his impact lingers in the air, like the scent of flowers that insists on being noticed, a reminder to stay present and to take it all in. In this interview, edited for clarity, Oskido walks us through the formative years that made him the behemoth he is today. 

This interview has been edited for length and clarity.

Let’s start from the beginning: how did you start producing? 

I used to play at a club called Razzmatazz long back. And I would see other DJs remixing songs. The versions were different from the originals. Then I got to play most of that club music, house music, which became popular. And then later, a record label approached me to make cover versions of those, because they were popular. I’d started putting them on TDK cassette tapes and selling them in the streets because there was a demand; no one was selling them commercially. They were only available on vinyl, and it was an underground market which was really looking for the music. Later, the record label approached me to say, ‘You know, we can slow it down and make cover versions.’ Then I said, ‘Okay.’ Then they asked me to select the tracks. Then I would go and sit with them at the studio. That’s how I got into production.

Were you aware of what the likes of kwaito artists M’du Masilela and Mandla Mofokeng (Spikiri) were doing around that same time? 

I wasn’t aware. I was doing it purely from what was going on with my life in Johannesburg. And from there… I started doing those tapes. My Mixmaster tape was one of the first tapes to come out. From there, the music industry adapted to that. Those international remixes inspired us to create our own instrumentals. From there, we started putting vocals on it, and that’s how kwaito was born. This is when I got to know who M’du was, to say, ‘Oh, you were doing that instrumental tape.’ That’s how we started getting to know each other.

So, when did you meet Don Laka and DJ Christos and decide to form Kalawa Jazmee Records? 

Christos, I met him first because he was the guy who was bringing in the vinyl from overseas, because it was a niche market. He had a shop called Mega Tracks, which he owned with Tim White. It was only a few of us buying – the guys who owned shebeens and all that stuff. I met bra Don Laka when my tape became big. I was staying in Hillbrow. We met in the lift because we were staying in the same building. He said, ‘Oh, so are you Oscar the Big O from Razzmatazz?’ Then I said, ‘Yes.’ Then he said, ‘Your tape is causing havoc, man!’ That tape sold 500,000 units, and at that time, they were giving me 20 cents per copy sold. I think I got a check of about 20,000 rands or so. But I was excited, I was a kid. I was following what I liked. He asked who I was working with, then I told him that I supply them the music, they bring vocalists and re-do it. Bra Don really is the one who inspired us to say, ‘We can do this ourselves!’ He said, ‘Come up, I’ve got a studio.’ He said, ‘Let’s do it, so that you cut off these guys.’ Then I told him about the guy I was buying vinyls from, because I’d get exclusives from him. I called Christos to say, ‘Hey, there’s an opportunity for us to do this.’ The three of us met, and this is how Kalawa Jazmee started. 

Why did you decide to revisit your catalog at this point? 

I felt that I needed to go back, that music has to re-live. When I look at what Afro-house is doing now, it took me back to where our catalogue is, to say, with the Oskido’s Church Grooves compilation series, it used to be called tribal house. The idea was to bring back those songs and start working on them with the younger generation who are already in the scene, the likes of Mpho.Wav, Manoo, and Atmos Blaq, to come in and say, ‘Okay, I’m giving you this classic track, let’s remix it.’

How have you managed to stay relevant throughout so many eras? 

Through things like the Afro House Heritage Project. I always feel that the universe is guiding me. If you can look at this project now, I thought of it and executed. If I was stuck in the old ways – I mean, throughout the conversation, you can hear that I’m always changing, I’m not staying in one space – from when I was doing cassettes, to where kwaito started. I chose to have the ability to change. This is what keeps me relevant. It’s different generations that listen to music, so you must be able to adapt, to understand what’s going on. I’m also blessed to be surrounded by my family, who I admire the most. They keep me grounded. Without them, I would be in a mess. I’m surrounded by people who don’t just say yes, because the danger is in always making decisions by yourself. No one will guide you, even if you’re making mistakes. I also avoid toxic people around me. I stay focused, enjoy what I’m doing, and stay humble. I’m teachable, and work with a lot of young musicians who I learn a lot from.