The Sunday Mail
THE rise of a new breed of producers shows that the business of making music in the 21st century is significantly different from what obtained in yesteryear.
We now have fresh talent in the mould of Munyaradzi “Viali” Viya, Prince “Oskid” Tapfuma and Tafadzwa “Levels” Kadzime that have not only come to complement, but also give veterans like Bothwell “African” Nyamhondera and Dumisani Sibanda a good run for their money.
Bothwell Nyamhondera
Not so long ago, top acts in the country used to be recorded by seasoned producers like the late great Tymon “The Whitehorse” Mabaleka and Nyamhondera.
That is no longer the case.
Mono Mukundu
It was taboo to suggest that artistes like the late Leonard Dembo, John Chibadura, Marshall Munhumumwe, Ketai Muchawaya, John Chibadura or James Chimombe be recorded by greenhorns.
Almost all in-form artistes in every genre of the local music industry are being recorded by budding producers.
For instance, Jah Prayzah, Suluman Chimbetu, Winky D and Killer T’s success is traced to three producers – Viali, Oskid and Levels.
Moreover, the Producer of the Year nominees list for different awards ceremonies has in the recent past been dominated mainly by Viali and Oskid.
Oskid walked away with the Producer of the Year Award at the recent Zimbabwe Music Awards. Before that he had scooped the same gong at the Star FM People’s Choice awards. In both instances, his closest rival was Viali.
Does this then mean the veterans have lost their touch? Or is it that they are failing to keep track of the ever-changing dynamics of technology?
Music production has migrated from analogue to digital, a phenomenon that has left rigid characters stranded.
Nyamhondera refutes the notion that they are out of it. Fairly, he argues technology has created a new wave that is essential in further developing the music industry though not the absolute solution.
And if their skill was no longer relevant, he says, they would by now have been out of employment. Thus, he notes, there is a huge gap that exists between his generation and that of new producers, though they complement each other.
“We are still very much relevant in this game. I still get some people that are coming for my mixing expertise after recording elsewhere but I turn them down because the whole project would often have been badly done.
“Admittedly, there has been a lot of changes and format is now different. We migrated to the digital system but I prefer live music. Our local music like sungura and chimurenga needs a live human touch, which I cannot feel on a dancehall project,” says Nyamhondera.
Nyamondera adds that having new, young producers is good for the industry.
In fact, he says, the old and new breed of producers should combine forces to come up with fresh, creative productions with international appeal.
Many a music enthusiast thought the return of Nyamhondera from a United Kingdom sojourn a couple of years ago was going to help revamp sungura’s waning fortunes. But even for the veteran, reviving sungura is a Herculean task.
“We still have our game. Youngsters have their own lingo that they understand and in that regard they need a youngster to record them. It makes sense that way. We have creative youths but development of music in the country is slow. Every artiste that I produce can go and hold his or her own in any foreign country but that cannot be said for the new crop of artistes,” boasts Nyamhondera.
He goes on: “Zim dancehall is fresh and a hit in the country but it is not outside our borders. There are foreign producers working with international artistes in the dancehall and other similar genres hence our artistes will never make it big across borders. It’s like having a local producer record a rock or electro-dance-music artiste with the hope of an international breakthrough. It won’t happen.”
The veteran producer says sungura musicians – and not producers – are responsible for the nosedive of the once-revered genre.
“Sungura songs are just too long and that puts (listeners) off. Veterans like Oliver Mtukudzi have songs that are five minutes long or less while you have a single sungura song that can run for up to 15 minutes. That’s now an outdated approach of composing,” he says.
Reigning Zima Producer of the Year, Oskid, believes they have done everything according to the script.
He notes their effort now has international takers and only the sky is the limit.
The former Kenako Music producer, who entered the game at age 16 in Gweru, opines experience is not a deficiency on his curriculum vitae.
“We are not far off the mark. So far I think I have achieved most of the things I wanted in the music industry.
“We wanted our music to be played internationally just like Nigerian music and that is now happening.
“The standards of music were not good but I have helped improve them. I started as an artiste but later on moved to producing after a couple of disappointments with my producers. And I’m glad I have changed everything. The music we are producing is of international quality and cannot be matched,” he says.
In agreement with the multiple award-winning producer is Viali.
“Matching people is one of our many strengths. You need to know what people want and what they are after at any given moment. Our age guarantees that we are always in touch with reality. We play with both the artistes and consumers of the music, which in turn makes our job easy,” says Viali.
Viali recorded Jah Prayzah’s highly successful album “Tsviriyo” and Suluman Chimbetu’s “Gunship”.
The self-taught keyboard player-cum-producer also has foreign experience in music production, though it was not plain sailing.
He has worked with Vee of the “Taku-Taku” fame, Slizer and Charma Gal all from Botswana. This, he argues gives him an edge over other producers.
“I was regarded as a polished producer in Botswana yet I was not yet there. I would call home for assistance from the likes of Blessing Muchenga, the late Sam Mtukudzi and Oscar Chamba when I got stuck but that helped me mature fast. I can now match or even surpass levels that have been set by veterans in the industry,” brags Viali.
Producer-musician Clive Mono Mukundu belongs to neither Nyamhondera’s nor Viali’s generations.
“There is a problem in sungura or other traditional genres that has made our work difficult.
“Everyone wants to sound like Macheso hence there is no longer fresh and creative talent to work with,” laments Mono.
“The biggest challenge is producers used to scout for talent, record potential artistes for free and get money from royalties but that has since been affected by piracy hence we now have to wait for those that can self-finance but often not talented.”
The idea of artistes paying for their studio time, Mono says, has left them powerless.
“People like Nyamondera no longer have final say on the product.
The paying artiste dictates what he or she wants unlike in the days of Dembo or System Tazvida.
Money now speaks more than talent and that is destroying the quality of our music.
“Government should help us stop piracy. That way studios will start making money that will help producers regain their lost power and start scouting for talent again. Believe me, 99 percent of talented people are from disadvantaged communities.”
