The Sunday Mail
Prince Mushawevato
ONE thing for certain is that Alick Macheso’s 10th offering, “Tsoka Dzerwendo” is laden with poignant social messages. Lyrics-wise, it is indeed a case of “back to basics” for the sungura king.
But, the project equally cements the new type Macheso status. I am sure those that enthusiastically follow the legend’s work already get my gist. The sungura king adopted a new style on his last offering “Kwatakabva Mitunhu”, which was a complete diversion from his trademark style. The project received a lukewarm response compared to his previous releases.
And four years later the maestro is back with a new product.
Clearly, Macheso a.k.a Baba Sharo, did not totally abandon the “Kwatakabva Mitunhu” approach. Rather, he further modified the style, to try and give it a fresh look. “Tsoka Dzerwendo”, is a blend of the musician’s artistry traceable mainly to four projects: “Simbaradzo”, “Vapupuri Pupurai”, “Zvinoda Kutendwa” and “Kwatakabva Mitunhu”.
Baba Sharo introduces new styles in the aforesaid projects, be it on vocals or instrument arrangement. And it is those aspects or styles if you like that he randomly selected to come up with the resonance that make up “Tsoka Dzerwendo”.
I feel his decision to record and produce himself somewhat compromised the overall output of his product. The sound could have been solid had he sought services of an independent producer.
The six-track album, “Tsoka Dzerwendo”, is a project that dwells on diverse aspects of our day-to-day lives. But an alert or sharp ear will pick that the songs on the album from the opening to the very last track tell a Macheso story. Yes, his personal life.
Baba
The opening track is inspired by his role as the Zimbabwe Red Cross Society Ambassador.
Macheso applauds mothers for taking care of their children after being dumped by men while pregnant. Equally he urges men to take full responsibility of their families.
The gripping lyrics to the song are aptly supported by the gentle but firm resonance of the rhythm guitar, which for the opening track is dominant. As the song folds, the man himself throws in a bass guitar riff that is strummed in a lead guitar like bias.
Kurarama Inyasha
This is laid back but danceable track. In the worship song the sungura maestro reminds us that we are whatever we are because of divine mercy.
He thanks God for seeing him through his trying times, including the predicament he found himself in the last five or so years. The lead guitarist’s dexterity is put to test as the song gets half-way through. Also the teasing bass guitar vibe, which periodically sounds as the lead guitar is solely strumming, is difficult to ignore. It is not for long though before the bass guitarist jumps of the cocoon to take a similar display platform.
Mude Mude
The dangers of going it alone on a production of this nature are highly visible on the last track “Mude-Mude”, a love song. Baba Sharo’s intonation including that of the backing vocalists are not in sync with the instruments. At times the vocals sound subdued while in some instances the high pitch notes are too discernible and tend to distract the listener.
The instrumentation though is decent but he almost losses it when he fails to gently blend the bass and lead guitars. Clearly an independent producer could have easily decoded the anomaly.
Wandirangaridza
Gears are upped in the third song. Typical to “Macharangwanda” on “Kwatakabva Mitunhu” in style, the lyrics are not party-like but the instruments are danceable.
The song tells that there are always reminders to certain events in our lives, good or bad. Macheso says the song is special to him and sometimes results in him breaking down to tears whenever playing it.
Munyaradzi
The singer highlights that it is always a noble idea for tormented souls to open up. This way one is guaranteed support. The Creator, the song notes, has solutions to all answers hence prayer should be a part of our lives on a daily basis.
Equally, the track urges people to understand that challenges just like happy moments are a part of our lives.
Gungwa
Perhaps this is a song that has easily won the hearts of many. The 14-minute selfpraise-song created in the mould of “Tererai” gives room for the men of instrument to exhibit their genius in what the now “repented” Jonasi Kasamba would fervidly shout “one-by-one, vachiita tudobi-dobi twavo”.
The only difference from “Tererai” is the men of instrument are not introduced by name maybe because they have no brand names. In an interview with this writer Macheso had this to say about the new album:
“Traditionally I can do everything. I can record an album from the drums, guitars voices and even producing. Ndagara ndinongoimba ndega kubva pakutanga (I always sing alone since I started singing).
“. . .I cannot keep on playing rhythms similar to ‘Shedia’ or ‘Chikwambo’ because critics will start suggesting that I have run out of creativity. Thus I always make sure that I create new styles in all my productions.”
