The Sunday Mail
Sam Dondo’s debut offering “Dyara Minamato” shows the musician has the rare knack of being able to alternate between high and low notes without straining, a sign of a good singer.
Moreover, he blends easily with his backing vocalists who also prove their worthiness throughout the nine-track album.
Also, his album, which features talented and seasoned men of instruments in the form of Oliver Mtukudzi’s bassist and keyboardist Enock Piroro and Munyaradzi “Vialy” Viya respectively, among others, has a solid sound that cannot easily be identified as a novice’s project.
Add to this, the project was recorded at Vialy Studios by Vialy, mixed and mastered by Keith Farquharson in South Africa.
Should Sam fail to breakthrough in the cut-throat music industry, he cannot blame anyone but himself.
Going through the album, one easily notices the upcoming musician’s major challenge lies in the confusion that perceptibly grips his art and creativity.
The boy somewhat created a cocoon for himself.
He limits his creativity to certain grounds that have already been explored.
It is my wish that he shrugs off, rather, rises above this so that discovers his true self.
Throughout the album, Dondo experiments with different styles borrowed from established musicians. As a first project we can pardon him but one hopes that in his future work he valiantly chooses a self-defining approach and works on perfecting that.
The idea of creating a mixed style album, “gango” in street lingo, will not help spur a budding career.
He needs an identity.
Lyrics-wise, the artiste does not have that much of a challenge. He is able to address a number of social ills with a bias towards gospel messages.
For instance, in the track “Dyara Minamato”, he highlights the need to cultivate good relations with the Almighty through prayer.
The musician points out that one’s suffering and tears, equal prayer.
In the slow tempo “Nhamo Ndaramba”, Sam encourages people to resist poverty. He goes on to encourage the public to defy odds by rising above what appears to be set parameters in life. Behind the obvious, he notes, there is a better life.
But the musician somehow drags his vocals a bit too much on the song resulting in a poor blend with the beat.
“Dzungu” is a Jiti/Chimurenga-like song that promotes humility and the need to observe territories and respect others. The song sounds like a blend of the late Biggie Tembo and Thomas Mapfumo.
Sam moves a gear up when he tackles infidelity in “Pekauende”. The track discourages infidelity by supporting Holy Scriptures, which state that unfaithfulness is reasonable grounds for divorce regardless of circumstances.
Jah Prayzah brings in his artistry on the easy-to-listen-to “Zviuya Zviri Mberi”.
In the reggae song, Dondo says long, winding journey often have pleasant destinations.
The song is laden with rich vernacular idioms that are characteristic of Jah Prayzah’s work.
“Muvaregerere” is a plea to the Creator to forgive sinners. Sam says a lot of evil is done under the cover of darkness but the Man above knows all and will judge accordingly.
Track seven — “Kanganwa Nhamo” — is a party track featuring Suluman Chimbetu in which the duo urges people to find times to rejoice even in times of hardhsip. The artistes also thank God for their singing talents.
“Kamberevere”, which runs with the same theme as Oliver Mtukudzi’s “Moto Moto”, shows that big problems start small, hence the need to nip them in the bud.
The last track, “Anonzwa”, reminds listeners that God always finds time to listen to their problems and we should pray often.
