The Sunday Mail
THE Marondera musical bleep that had faded has begun to glow again following the release of Faheem Somanje’s debut album “Ndezvedzinza”.
Faheem’s offering has brought a new pulse to the Pengaudzoke legacy.
Faheem is the late Daiton Somanje’s son. He took over the reins at Pengaudzoke following the demise of its founder, Daiton, in April 2015.
Boasting of hits like “Tsaona”, “Sei Kuonda”, “Mai Linda” and “Zvibate Pamhaka” to name a few, the Marondera-based group became a household name in sungura music circles right into the turn of the millennium.
Who would blame anyone for having thought taking leadership of such an established group would be a rung too high for Faheem?
Other sons and daughters of legends have dismally failed to follow in their father’s footsteps. And Faheem appeared to have been struggling to deliver the goods.
He had been with Pengaudzoke as a band member, but leading the ensemble was a different kettle of fish.
For those not in the know, Faheem fronted his own band – Tokudai Mese – before leaving it to help his ailing father.
His uncle and Pengaudzoke co-founder Josphat Somanje appears to have gone to the music cemetery after his Somanje Stars last produced something obscure three years ago. It was also the case with Josphat’s 2012 production “Tele4nic”, which was a complete flop.
Josphat appears not-so-keen to assist the teething Faheem.
The uncle who always had wars – physical and verbal – with his late brother Daiton, did not attend his nephew’s debut album launch at Legends Sports Bar in Marondera last weekend because he “had other pressing issues”.
But that has not stopped Faheem.
Award winning music promoter Daniel Masaiti and sungura ace Alick Macheso took it upon themselves to nurture the young lad and develop him into “the star he deserves to be”.
And Faheem has thus far not given his backers reason to second guess their unconditional support.
“The journey has been thorny but some heavyweights have come on board to support and lessen the burden on us. Mudhara (my father) is no longer there but people like Masaiti and Macheso have made sure that I don’t feel it that much. I promise them I will keep the Pengaudzoke fire burning, more than before,” said Faheem at the album launch.
“We did justice on ‘Ndezvedzinza’ and we hope our fans will like the product. The touch on it is motivated by founding values of Pengaudzoke. This is just the beginning of a journey we hope will be fruitful.”
His six-track album “Ndezvedzinza” shows that another musical dynasty – like the Chimbetus and Dembos – could be in the offing.
Listening through this debut effort, one can see Faheem is as natural as they come.
His vocals are solid and the effect gives the impression of an effortlessness that even his father, who had a distinctively strained pitch, did not achieve.
The best thing is that from the opening track, Faheem is clearly not around to merely ride on the back of Daiton’s sound but to actually take it further. Also encouraging are his thought-provoking lyrics.
He sings about poverty, grief, witchcraft, inheritance, unrequited love and a host of other things that were the backbone of Pengaudzoke’s music.
Faheem has his cousin Never Somanje to thank for this. Never has worked with Josphat and is conversant with how Pengaudzoke does things.
The opening track “Nhaka”, which features Macheso, is a tribute song that dwells on Daiton’s deathbed wish.
They sing, “Baba vakasiya vareva, shoko guru vakasiya vareva, ndikafa muichengetedze, iyoyi inhaka yenyu, musaiparadze. Pengaudzoke inhaka yenyu.”
In “Zai Regondo” Faheem sings about his battles as an orphan with no one to share his problems with when the going got tough.
With Josphat seemingly having transferred his grudge from the late Daiton to the son, it is no surprise that the young lad has a song titled “Daka” on his album.
Accusations and counter-accusations of witchcraft characterised the relationship between Josphat and Daiton.
Now Faheem directs a message of displeasure to a person he accuses of directing evil spirits to him. He goes on to further plead for rest and peace from him/her.
The rest of the songs on the album are “Ndoda Kuroora”, “Allah Kumaunde” and “Linda”.
To say Josphat is uninterested in his nephew’s work would be an understatement. He is yet to listen to the full album a week after release.
“I have only listened to one song and I think he will grow with time. No one starts on point,” Josphat said before adding, “I’m busy finalising my album that will be much better. It will carry around eight tracks and will be released soon.”
Faheem’s six tracks sound like party songs despite being dominated by sorrowful messages. This is a dissonance characteristic of Pengaudzoke’s music.
“Ndezvedzinza” was produced by Bothwell Nyamhondera at Macheso’s Alema Studios in Chitungwiza.
At the album launch were UMAA Institute founder Cleopas Kundiona, and musicians Herbert Majeke and Macheso, who was the guest performer; while Orchestra Dendera Kings frontman Suluman Chimbetu was represented by his publicist and friend Joe “Local” Nyamungoma.
Macheso, who has played a midwifery role to numerous other sons of fallen legends, showered praise on Faheem.
“The young man is dangerous. I have been in the industry for a while and I know genuine talent. This boy is doing Daiton’s music but you can tell he is his own man. Achanetsa akaramba akadai,” said Macheso.
Masaiti weighed in: “The town of Marondera has once again come alive. This is our pride and we have to support him all the way. The good thing is that Faheem is disciplined and does not give you reason not to support him. As you can see Pengaudzoke is back in full force and everyone should support them.”
