For Cephas Mashakada the sun rose too late and set too soon

When I heard that Cephas Mashakada had passed away, I thought about his former band mate Job Mashanda.
The two played together in the Muddy Face before the band was renamed the Sounds of Muddy Face. Job was a brilliant vocalist and composer who took over the group’s leadership. When I interviewed Job, he accused Mashakada of using juju to push him out of the band.

I first met Mashakada at his Chitungwiza home early 2005 when his 11th album, Nyaradzo Yakaitwa sold more than 15000 units during the first month of its release.
I noticed that there was something about him that made him look like a reluctant participant in his own game. For starters, he spoke as if did not want and rarely looked you in the eyes. He had his trade mark checked shirt and black woolen hat. We sat outside on the loan as he told me his story.
With the proceeds, he bought a car and I recall very well on our way from a gala in Kwekwe Mashakada cruised past us effortlessly.
But that meeting was to be the beginning of other meetings too. On three other occasions we met at the Aquatic Complex when he was playing second fiddle to Alick Macheso.
And the other meeting was a sad occasion when together with Minister Webster Shamu donated an artificial leg and a wheelchair after the amputation of his leg in 2006.
Just like any other Zimbabwean artist, Mashakada was reduced to begging in the last days.

Below is his story

After going on a long and tiresome journey, it's not everyone who arrives to the destination happily.
But Cephas "Motomuzhinji" Mashakada written off by some critics as a spent force, has unleashed a massive album that swept across the country selling more than 20 000 units in just two weeks.
After struggling with poor sales over the past 25 years when each of his albums at least 15 000 units over a six-month period, Mashakada's eleventh album Nyaradzo Yakaitwa has proved that paths that seem to draw to an end sometimes do open up after all.
But just like a bright child who brushes aside admiration and compliments from friends and relatives, Mashakada is taking this success as just one of those of things.
"The album does not have anything out of this world," Mashakada said. "As usual, we dealt with issues that affect people. Most of the songs are in the public domain," he added.
According to Mashakada, some of the plug songs on the six-track album are about his personal experiences.
"Zvamaronga is about my personal experiences. I lost a father, a sister and a brother within a short period of time," he revealed.
"I composed Wakauya Usina Chinhu while I was at my brother's funeral in Chinhoyi. It just came into my mind that a man who amassed such wealth could die laving everything behind," he also said.
Other tracks on the album are Hera, Tariro and Chitendero.
However, though the title of the album is Nyaradzo Yakaitwa, there is no song with that title, "We chose to call the album Nyaradzo Yakaitwa because the songs carry the theme of death. These days nyaradzo ceremonies are very common and so this is an apt title," he explained.
Contrary to the belief that Mashakada veered off the sungura beat trail into the gospel path, he in fact said that his music career started in the Salvation Army in Chinhoyi in 1977 when he was a member of the church choir, "My parents attend Salvation Army Church and I grew up as a youth of that church.
"When I became professional, the recording company was not keen to record gospel but we included two gospel tracks on a sungura album because they believed that gospel was not popular.
"As a result, as early as 1979, I had a number of gospel tracks on the albums we produced. Songs like Tariro, Munyaradzi and Ndasunungurwa were done at that time,” he explained.
He added that a decision to break away completely from sungura was made when Gramma auditioned for gospel artists.
"After the auditions, we were told that since we had chosen to play gospel, it was not encouraged to come to the studio the next day intending to record a sungura album," he said.
Soon after that he released Zvapupu which was good enough to attract sales of about I5 000 units. Other aIbums such as Mharidzo, Chiratidzo, Shiqiso and Ndiri Mutadzi followed.
"All these albums never sold more than 5000 units in the first month of their release. But Nyaradzo Yakaitwa surpassed the traditional figure by far.
"Imagine, it was towards Christmas time and the company that prints the cassette and compact disc inlays had closed for the holidays," he laughed enjoying the success that came late.
Mashakada is probably the second Zimbabwean gospel artist who usually performs in beerhalls and such other places and not the church besides Hosiah Chipanga.
But how does it feel to be a gospel artist who performs before drunkards and such people who are considered lost by religion?
"I don't see anything wrong with it. The Salvation Army has what they call open-air sessions where they march into the streets, preaching to anyone they come across.
"By the end of the day, anyone who felt like accompanying the marchers to the church is free do so. This is what I believe in," he defended himself.
Indeed for Mashakada it's been a long and tiresome journey from Chinhoyi to the then Salisbury (now Harare) in 1977. When together with the late Biggie Tembo, Jacob Teguru, Franco Kazere (who later played with the late Safirio "Mukadota" Madzikatire) and the late David Ziome (of the Chachacha Kings) they teamed up to form the World Ten Band.
"We came to Harare when the late Paul Mpofu, Zebron Magura and others who called themselves the World Tomorrow toured Chinhoyi. They spotted us and were pleased with our performance. When they returned to Harare, they sent for us," remembered Mashakada who of late has been the inimitable, high riding Alick Macheso's stage buddy.
In Harare, they found a base at Saratoga Hotel in Highfield but Biggie and Franco could not find a place in the band.
"They were taken by Rise Kagona who was the founder of the Wild Dragons, the band that became the Bhundu Boys when Biggie became the frontman.
"Because we had our own band with Mpofu and others having their own, it was decided that we change the group's name.
"Mpofu came up with the name Muddy Face and we all agreed. And since then until today it's the Muddy Face," again he laughed exposing the gaps in his teeth.
The Muddy Face of that time underwent various changes over the years and with it Mashakada's life too.
"One day, we were practicing at Saratoga when Job Mashanda heard us. He was coming from a prayer session and was clad in white regalia when he approached and said that he had some songs he would want us to see.
"He gave us Amai Mandigona, Denga Rababa and Zuva Rakabuda MuAfrica among many songs. Basically, the early 80s were the Job Mashanda years. When he left, we took over until Paul Mpofu left to found his own band, Zambuko," he said, running his fingers through greying long beard.
Looking at him, one thinks of the Shona proverb: Sango Rinopa Waneta (luck comes after a long and tiresome effort).

Mutongi Gava, Joseph Mutero and Gift Amuli

There were times when getting information on a musician or group was hard but there were also times when a lone musician seeking publicity would pass by. The story of Joseph Mutero, who gave us the song Mutongi Gava, came that way. I had not heard about Gift Amuli but he came by and I listened to his story and here is Joseph Mutero’s story which is intertwined with that of Amuli, a sungura artist on the rebound.

When the history of Zimbabwean music is told, the role played by Mashava and Shabani Mines in nurturing talent will certainly be part of it.
From Mashava came Devera Ngwena in the early 70s and until now members of the group who have gone their separate ways are very active in music.
And from Zvishavane came Zvishavane Sounds, a six-member' outfit that was led by the late Joseph Mutero whose song Mutongi Gava was a mega hit in the 90s.
Formed in the 80s' as part of the mine's social responsibility, the group's performance was confined to the four bars that were run by the mine as well as playing during functions held at Zvishavane Mine.
The six - Mutero, Njira Tengani, Tito, Ncube, Kelazi Osborne, Davison Matsheza and Gift Amuli - were fully employed as musicians.
The mine provided musical equipment and paid for the recordings while the group was barred from playing outside the mine.
Like Jonah Moyo, Mutero left the mine in 1991 to pursue a solo career after a salary dispute with management.
But unlike Moyo, Mutero did not take along the name but formed his own group, the African Sounds, with whom he released the album Tiri Vadoko before his death three years later.Trevor Madamombe – who also died in 2000, replaced Mutero.
After Mutero’s departure, the group recorded four albums. Remekedzai Hupenyu that carries the tracks Ndiri Muranda, Chitototo and Ruchiva came in 1995 while Kudzizisana hit the streets in 1996.
A year later came Makomborero and Mushengenene, an album named after one of the popular beerhalls in Zvishavane’s Nil Township where the group played.
Soon after the recording of the group’s last album, Tito Ncube and Kelazi retired on medical grounds and inexperienced members who included Tafara Maeresera and one Tony and Marikopo were taken abroad.
In 2001, new management came and conditions of work for the musicians changed. This time they had to undergo training in any one of the mine’s departments. It meant that they were going to be part-time musicians and fulltime workers.
This was done because the mine could no longer sponsor the group and the members had to work and earn a salary.
But the mine undertook to provide a rehearsal room and still give the group a musical kit to enable it to play as usual in the bars and during functions.
One of the original members who took up training as an electrician is Gift Amuli who had played with the Zig Zag Band before trekking down to Zvishavane for auditions when the band was formed.
Amuli and Davison are the only surviving original members who saw the group they had worked for and helped to grow dying a slow death. In 2002, Amuli had a solo project with the backing of the members of the group using mine equipment.
The project, a five-track album titled Wedangwe, did not do quite well despite shooting a video for the song Wangu off the album.
When Amuli left the mine’s employ in 2003, all the equipment was locked up and Zvishavane Sounds ceased to survive.
Amuli, who returned last year from South Africa where he was working, has a new set of equipment and a brand new album titled Munozvigona Sei? which hit the market on Monday this week.
He has also teamed up with Davison to revive Zvishavane Sounds.
Maybe better days are coming for the duo.

If you remember the song Ndochi then you should know Maria

I don’t know if the hair salon the late Papa Jose’s wife, Ngalula Maria Kayembe works is still there by the corner of Samora Machel and Julius Nyerere Way near the popular bottle store. It was there where I met her in 2006 for the Papa Jose of Ndochi fame. Maria also features on the video.
She is a humble woman trying to make ends meet after her husband’s death. Her story, however, is one of agony after the record company, the now defunct Record and Tape Promotions could not pay royalties. But she smiles when she talks about her husband.
She remembers what happened for her to be in the video: I got involved in the video by chance” she reminisced” My husband asked me to accompany him just to see how a video is made. But when we arrived, the late Ray Makahamadze asked me to participate since Ndochi was about love and I was his (Papa Jose’s) wife – Ngalula Maria Kayembe

This is her story
It was a very brilliant video of a song that meant nothing in particular but carried a love feel portrayed through the raunchy dance routines and an amorous man urging Maria to dance to the Ndochi! Ndochi! chants.
And Ndochi became a slogan. So did the dance routines but not the musicians.
Papa Jose (real name Joseph Ndlovu) is now late. He died in 2003 and some of the nine-member Too Powerful Nyekese group are also late except Peter Majoni and two or three others.
Ngalula Maria Kayembe, Papa Jose’s wife, has gone back to hair dressing after that short walk under the glare of the television cameras.
“I got involved in the video by chance” she reminisced” My husband asked me to accompany him just to see how a video is made. But when we arrived, the late Ray Makahamadze asked me to participate since Ndochi was about love and I was his (Papa Jose’s) wife”.
The fun ended there for Papa Jose’s follow-up album Kumbayambaya released in 1998 failed to rise to the same crescendo as Ndochi (1996). That too was the fate of his debut album, Manzanza released in 1994.
The fourth album was still born and is Maria’s problem.
“He had finished recording another album a year or two before his death but the material was lost. According to Peter Mparutsa, who was working on the album, the machine he used for mixing the music was sold to South Africa together with the music. Now, he says, I should bring him the cassette he had given us. “But I do not have it. Papa Jose’s relatives took everything that belonged to him,” she explained.
For her husband’s efforts, all what Maria got from the Record and Tape Promotions as pension was $3 000.
“I refused to take the money because I needed $4 000 for a trip to and from Masasa. Going to collect the money would have left me $1 000 poorer,” she said.
Today Maria can only remember that the man who later became Zimbabwe’s top grade musician had started his career some years back in the Congo from where he would cross into Zambia and sometimes Tanzania.
Born in Zimbabwe, Papa Jose relocated to Congo with his mother when he was a small boy.
There, as a teenager, he had the chance to listen to some of Congo’s renowned rhumba artistes and thought seriously about becoming a musician.
But with the tight economy in that country, Papa Jose embarked on cross-border trade.
In 1979, he followed his mother to Zimbabwe and thought of settling down although he would from time to time take a trip to Congo where in 1983 he met the schoolgirl, Ngalula Maria Kayembe, who was to become his wife and then dancer.
When he finally returned to Zimbabwe, he married the schoolgirl and brought her home.
Because Papa Jose had no job, he got involved in music. First, he linked with the Real Sounds before he was sent by a Dr Nyamuswa to bring the Zambian outfit, Orchestra Mangelepa, to Zimbabwe in 1988.
Based at Sanganayi Inn, Papa Jose played with the group until its return to Zambia a few years later after which he gathered a group of musicians and started TP Nyekese.
With Ndochi, TP Nyekese had a quantum leap but death and desertions by musicians saw the group experience a quantum fall.
“Kumbayambaya was affected by inexperienced musicians who were enlisted to play rhumba when they were Zimbabweans. It was not in any way like Ndochi,” said Maria.
With a faltering career, he found employment as a bus driver with the Zimbabwe Passenger Company (Zupco) and many other companies while at the same time he would return to music.
Today, Maria does not get any meaningful amount in royalties.
“Sometimes I get $120 000. At one time, they paid me $20 000,” she said resignedly.
“I think the album that was supposed to have been released would have made a difference. But as it is, I can’t run around when I am supposed to fend for the children.”
Peter Majoni left to join the late Ketai Muchawaya and the Simba Brothers before he linked with the late Marko Sibanda.
Today he is doing his own things.

The band that found Chiwoniso: Peace of Ebony

When Zimbabwean music history will be told, one name is most likely to be mentioned –that of Keith Farquharson. He is the lanky white guy who thumps the piano in Cde Chinx early music videos as Barrel of Peace. He took Chioniso Maraire into the first ever Zim hip-hop group, Peace of Ebony, when she returned to Zimbabwe from the US. The group they formed was a multi-cultural outfit which, for some years, ruled the roost with the song From a Native Tongue.
Keith is now in South Africa and in 2007; I sent him an email which he promptly responded to. Below is his story.



A young man, who later became Zimbabwe's most celebrated key-board player, songwriter and producer, operated a home studio in one of Harare's suburbs.
Keith Farquharson's studio, Barrel of Peace, was not sophisticated as other studios but it enabled him to lure other youths that had music in their blood.
First to come was Herbert Schwamborn who was introduced to Keith by another great musician, the late Joey Steblecki. Next came Tony Chihota and later Chioniso Maraire who was 16 years at the time such that Keith had to seek permission from her father, the late Dumisani Maraire, for her daughter to come to the studio.
With this grouping, a studio project later named Peace of Ebony was born in 1992 with Keith as the leader of the multi-ethnic cast.
The name showed the composition of the group that would later have two Zimbabweans, a German, an American, a Russian and a Malawian.
The group was undoubtedly the first to play rap music using mbira and marimba as the basis of their beat.
It also defined and refined what is now the internationally recognised African rap music 'Where local languages are used since their music was in English, Shona and French.
Their first recording was the internationally acclaimed album titled From The Native Tongue, a blend of hip-hop dance groves with mbira and marimba that was recorded in South Africa under the Teal Tone' label.
A top South African producer, Devereux Harris, whose company was heavily involved in the formation and running of the immensely popular Channel 0, made the video for the song From a Native Tongue.
Off this album were two immensely popular songs, Don't Slow It Down and Give It All Up that caused quite a stir especially in South Africa while the title track left a mark in Zimbabwe.
Soon after the release and the success of the From A Native Tongue, Phiri and the former Miss Zimbabwe, Karen Stally, joined the group and were involved in the recording of the track Vadzimu in 1994 that was written for the Radio France International Discovery Competition.
The group's involvement in the "Les Decouvertes" competition was through the Alliance Francaise Harare's instigation after recognising the vast talents in the youths.
And indeed, the group went on to win 'Best New Group out of Southern Africa' award and were invited to Madagascar where they played at the award presentation ceremony.
After their performance, the French-based Company, LusAfrica SarI, later offered them a recording contract.
Tasting success at tender ages, the members agreed to mutually split soon after the Madagascar adventure when each one of them sought to pursue their academic studies and solo careers.
Herbert Schwamborn went to South Africa to work with Harris and eventually became a Channel 0 video jockey and presenter.
Now calling himself Metaphysics, Herbert has released two albums - Digital Garden and Black Butterfly and is touring with Germany's most popular pop/R&B artist Xavier Naidoo.
Known also as Laygwann Sharkie, Phiri has just released his first album "Mysteries of the Forbidden Flow".
A member of the regional musical grouping Mahube together with Oliver Mtukudzi and Steve Dyer, Phiri has also toured Germany and Holland.
Originally from Malawi, this is one man who can boast of a vast knowledge of African rhythms grossed from time spent in Zimbabwe and South Africa.
In Zimbabwe, Phiri was the steering force behind Wells Fargo in the 80s before he returned to Malawi where he was part of the group Kalimba Makasu.
When he moved to South Africa, Phiri played as a session musician with Stimela before teaming up with Kampi Moto who is from the Katanga Province in Congo.
The duo was South African Music Awards' Best Duo Group for 2001.
Keith, who is currently producing a new CD with Chiwoniso that features several top musicians including Louis Mhlanga, Ian Hillman, Sam Mataure and Steve Dyer, has worked with quite a number of Zimbabwean groups.
He was part of the popular Ilanga band together with the late Don Gumbo, Andy Brown, Busi Ncube, Comrade Chinx and Adam Chisvo.
In 1995, Keith brought Chiwoniso to Andy Brown who was recording an album; Let the Children Play, in his (Keith's) studio as a replacement of another female vocalist who had left.
Brown, who was working from South Africa at the time, left for a few months and when he returned, he requested Chiwoniso to be part of his band, The Storm.

Using the skills gotten from her early days as a 16 year-old hip-hopper with Peace of Ebony, Chiwoniso later released a debut solo album titled Ancient Voices that was recorded at LusAfrica SarI in Germany.
Working together, Keith and Chiwoniso were involved in the movies More Time and Everyone's Child where the former was the songwriter and producer while the latter was the performer.
The members went their separate ways but the Peace of Ebony spirit still lingers such that today there is still some joint efforts taking place.

Picket brains behind Thomas Mapfumo's fusion of mbira music

At one time, Thomas Mapfumo had no band. He was playing a guest artists for the Pied Pipers and then moved over to join Leonard Picket Chiyangwa who led the Acid Bandrsident at Saratoga Hotel, a few streets away from Mushandirapamwe Hotel at Machipisa in Highfield. Of course, Mapfumo later became the leader of the band. Picket said in 1991, "The touch in mbira music in the music of today was my own idea which I developed and mastered in the 70s. 1 saw potential in that kind of development; today that has been realised with the music now a property of Zimbabwe."


If you surf the Internet, chances are you will not pick Leonard "Picket" Chiyangwa's name quite easily.
The only website that says very little about him has his name under "the noteworthy" section buried behind what are considered as big names and not in the main menu together with Thomas Mapfumo and others who charted Zimbabwe’s music passage.
Picket could have been the man behind the crafting of mbira into guitars way back in the 70s when he was the leader of the Acid Band based at Saratoga Nightclub in Machipisa, Highfield.
"The touch in mbira music in the music of today was my own idea which I developed and mastered in the 70s. 1 saw potential in that kind of development; today that has been realised with the music now a property of Zimbabwe," Picket said in 1991 during an interview with the Sunday Mail.
To help him define the distinct mbira-guitar rhythm was Mapfumo who joined Picket in the Acid Band when he returned to Harare from Mutare after the disbandment of the Blacks Unlimited.
They had been together in Mutare as members of the Blacks Unlimited with the late Jonah Sithole and Marshall Munhumumwe.
In Harare, Mapfumo joined the Pied Pipers at Mushandirapamwe Hotel at Machipisa just two streets away from Saratoga Night Club where Picket and the Acid Band where based.
Mapfumo who was playing rock 'n roll at the time decided to team up with Picket and became the group’s leader later.
The group's first album, Hokoyo that deviated from Mapfumo's earlier works such as Hoyo Murembo, which he did with the Hallelujah Chicken Run Band in the early 70s, came in 1977.
Hokoyo set the militant tone that became Mapfumo's trademark and gave Mapfumo a clear idea of what his music was to be and stand for.
Then came the name Chimurenga from Mapfumo.
Picket and Mapfumo's marriage did not die when the Acid Band disbanded. Instead, they approached Sithole who was playing with the Storm soliciting his support in reviving the Blacks Unlimited.
After the revival, Picket, together with Sithole, later with the late Ashton "Sugar" Chiweshe, Joshua Dube and Chartwell Dutiro who is now based in the United Kingdom refined and de• livered Chimurenga music as it is known today.
"I first played it (mbira music) with the Acid Band together with Mapfumo. Most bands then were playing rhumba and rock and roll including soul. So it was a case of trial and error," he revealed in the same interview.
But back then, it was not an easy task to accomplish.
"The recording company which we were working with pointed out that it was risky to put traditional music on records. But they tried it out and to the surprise of many; the compositions were hits," Picket was quoted saying.
These were compositions such as singles now collected under The Chimurenga Singles 1976 -1980 as well as Singles Collection 1977 - 1986.
Some of the singles are Chauya Chiruzevha, Tozvireva Kupiko, Pfumvu Paruzevha, Kwayedza MuZimbabwe, Munhu Mutema, Chipatapata, Bhutsu Mutandarika, Pidigori and Ngoma Yokwedu.
Picket was part of the pomp and glory that became part of Mapfumo's life until 1985 when like Sithole and Chiweshe, he packed his bags and left to find fame on his own.
His first group was Pride of Africa with which he released the single Botha Ingarara whose flipside was Fundo Inokosha in 1987.
His other song Wapunza Musha was the soundtrack of Zimbabwe's first locally produced film, Jit.
For this success as a credible composer, Picket was grateful to Mapfumo.
"I am very grateful to Thomas Mapfumo for the way he guided me and taught me how to write songs. My long association with him was like an apprenticeship without which don't think I would have made it as a solo artiste," he confessed some 18 years back.
But just like many groups, Picket had no instruments to enable him to realise the potential that locked in him for all the years spent in the industry.
There is no doubt that like many others like him, Picket died unsatisfied.

Mudhara Widza is still waiting for his day

There is a township lingo that says munhu anofira mutulayi. This is true for Wilson Mbale of the Four Seasons band that has been hanging on out there for decades now. Mbale known as Mudhara Widza does not give up such that he walks, sometimes from Chitungwiza to the city to play at Livewire.
He became my regular visitor at the Herald after I had interviewed him (see story below) in 2006. Either it was about the group’s forthcoming album or about bus fare. – Wonder Guchu


For some, the musical journey is a short walk into fame and wealth, but for others it is a lifetime journey while success is not so much because one is capable, but out of chance.
It is more than 30 years now since Wilson Mbale started the long walk towards musical success and fame.
Having grown up in Highfield when the Harare Mambos, Baked Beans, New Tutenkhamen, Eye Q, Pied Pipers and the Modernaires from Mabvuku were every musical youth’s idols, Mbale, who is popularly known as Widza (from his first name Wilson), set his eyes at becoming a star.
Together with his friends – Freddie Chimupeni, Charles Khumalo and Fatty Phiri – with whom he had learnt playing musical instruments at the Boys’ Club at Nenyere Hostels in Mbare, Widza founded Double Shuffle, the group that released I’m a Lady way back in 1977.
This single and the subsequent ones – Taj Mahal and Carol that was written by Steve Makoni when he was still a student – won Double Shuffle Quick Silver Gold discs.
“We started in Mbare and then relocated to Rusape in 1972 when we heard that the owner of the Crocodile Motel wanted a resident band.
“Playing rock and roll, we stayed in the town for seven years before the war sent us back to Harare. When we returned to Harare, the group disbanded,” said Widza.
Together with Mike Banda, Albert Shoniwa, Albert Luwizhu and Regis Chikupo, Widza formed the Zimbabwe Heroes,” he explains.
From this group came singles such as SaMtoko, Taitamba Chisveru, Self-Job and Georgette Yangu.
Widz spent another seven years with this group before joining The Seasons after the other members had all died.
The Seasons he joined in 1989 had Patrick Mukwamba, Lazarus Khumalo (Sekuru Hozhwa), Noah Langa, Andrew Chikwanha, Robson Nyanzira and Sam Nheta.
This was the lineup that worked on Mukwamba’s Shamwari Tenga Gumbeze, Sekuru Hozhwa’s Ganda Mapfumo, Chiropa Chesvosve and Lacy.
And again death visited the group and took away Sekuru Hozhwa and others, leaving Chikwanha and Widza who had to incorporate Khumalo and another guy who were former Double Shuffle members.
The group was then renamed the Four Seasons and won successive contracts to play at the then Tereskane Hotel (now Bira), the defunct George Hotel in Avondale and the then Job's Nightspot (now Livewire).
The Four Seasons released albums that include Take Me to Paradise, Mudzonga and Elina.
They are on the verge of releasing two albums - one in Shona, Nhorowondo, and another yet to be titled in Ndebele.
"Some of our albums released in the 90s did not do that well. As a result, we had to do the club circuit in order to survive.
"However, with the upcoming albums we hope to make a breakthrough," said Widza, who is a regular at Livewire today.
But for the albums to be released in June, Widza is appealing for help from well-wishers.

Simon Chimbetu was a closed box - intrigue

I fought in the liberation war and still think of my comrades who died in my arms. They never fought for their own families alone but they fought so that Zimbabweans can repossess what had been taken away from them by the whites. I look at the opposition parties across Africa, just as I look at all new things that come up, and I realise that they have no base. I am a revolutionary and what I see in most of our opposition parties is a group of people who have no foundation, they can’t think on their own. - Simon Chimbetu

Simon Chimbetu was an intrigue. Those who knew him well talk about a man who was like a picture album. There were parts of his life he never spoke openly about. Whatever secrets he haboured, they went with him into his grave.
He never made it a secret though that he was a staunch Zanu-PF supporter even claiming to have gone to Tanzania to train as a guerrilla.
It was for this reason that he included a song about the liberation war on every album. And most if not all such songs stand out even today. Who can forget Ndarangarira Gamba or Pane Asipo?
But come what may, Simon, who served a four-year jail term from 1990 till 1994 for car theft, never admitted that he indeed was guilty. His protest was even captured in the song Utete Ura Wangu where he asks why gondo uchibata mwana wangu/ muchecheche asina mhosva.
Simon also never spoke openly about his role in the liberation struggle. Indeed, there have been conflicting details on this although Simon was buried at Mashonaland West Provincial Heroes Acre in 2005.
His young brother, the late Naison with whom he started his music career could not say whether Simon went to war or not.
When Simon passed away and I was working on the story, I spoke to his brother-in-law who looked after him when he came to Harare. The brother-in-law said Simon was one of the pupils abducted from a school in Msengezi but was asked to return home because he was young. When Simon returned to Chegutu where his father worked on a farm, he was sent to Harare to escape the Rhodesian army.
Later Naison followed and the duo that stayed in Dzivaresekwa then started singing in bars until they were discovered by Chris Matema who sent them to see Zexie Manatsa. That was sometime in 1978 just when the war was drawing to an end. Once at Zexie’s, the brothers failed to find help and had to go back to Matema who then sent them to Mushandirapamwe Hotel in Highfield where Joseph Ngoyi and the OK Success were resident.
At the time, both Simon and Naison could not play any musical instrument although they had songs.
Once given a chance to prove themselves, Simon and Naison took over completely thereby making Ngoyi and his boys jealous. In the end, the hotel management had to ask Ngoyi to leave.
Left without a backing group, they went back to Matema who sent them to Domboshava where the Sungura Boys were resident. When they brought the Sungura Boys to Harare, once again problems emerged – the brothers proved too good for the backing group. It was at this time when John Chibadura was brought in to compose and sing for the Sungura Boys and counter the fame of the Chimbetus.
In the end, the Sungura Boys were asked to leave and then the Chimbetus recruited some boys and formed the Marxist Brothers.
This is according to Naison but Simon never confirmed it.
There is something else – Simon accused Leonard Zhakata of stealing his song Mugove. Remember, when Zhakata and his cousin the late Thomas Makion were starting out, they had a stint with the Marxist Brothers.
It is because of this that Simon and Zhakata were never close and Simon never apologised.
Simon loved the media. But sometimes, he would make you wait if it suited him.
Simon also never admitted that he ill-treated Naison by taking away the equipment when they split leaving him stranded. He also said nothing about the claims made by Naison that he did not share the proceeds of their album sales.
Neither did he comment on the rumours that he hated his brother because he had slept with his wife when he was in prison. In his last days, Naison’s mouth appeard as if he had been hit by a stroke and this brings me to the issue of a spirit that is said to haunt the Chimbetu family.
When I interviewed Knowledge Kunenyathi (see his story) who spoke about rampant use of juju by musicians, he mentioned Simon as one of the musicians who visited an n’anga in Chipinge. In fact, Kunenyathi said Ketai Muchawaya (leader of Kasongo and founder of The Simba Brothers) and Simon shared the same n’anga.
The family has, however, confirmed that they live in perpetual fear of a spirit that haunts and has been haunting them for decades.

See Godwin Muzari’s story below:
Chimbetus Living in Perpetual Fear of the Underworld

They boast what could be considered the best music genealogy in the land but members of the Chimbetu family are living in perpetual fear of an alleged evil spirit wreaking havoc in the clan.
The family that has brought forth a line of talented musicians in the form of Simon, Naison, Briam, Allan, Sulumani and Tryson has reportedly been on the receiving end of the malignant spirit for some years.
Some of the family members last week confirmed that they were living in fear as mysterious happenings, threats and nightmares trail them day and night.
A source close to the family says the Chimbetus hold family indabas regularly to map strategies to counter "the horror".
Allan, the eldest surviving family member, confirmed that the family has been embroiled in a vicious fight with an evil spirit that has tormented most of the members.
Sulumani said that the song Horror from his latest album Reverse Deal, in which he talks of having serious nightmares, was a reflection of personal experiences.
Tryson said he was shaken by an accident involving his band members that destroyed his instruments and forced him to abort shows earlier this year.
Most of the members have diverted from their fathers' traditional religion to seek refuge in other religions that are believed to offer better solutions to their plight.
Allan has turned to an apostolic sect; Sulumani now attends Christ Embassy Ministries while Tryson has joined a Pentecostal church.
Allan gave an account of the family ordeal.
"It started with the late mukoma Simon complaining about strange things happening in his life. He had bad dreams and hallucinations and was afraid of travelling.
"He was involved in a number of accidents during the last days of his life and the strange thing is that all the accidents involved donkeys."
True to Allan's word, Simon confessed the strange happenings in his life to this writer in 2004 when he was explaining the song Kikiri Kikiri on his last album Ten Million Pounds Reward.
The song is the musician's plea to evil spirits to stop following him. Simon said the song was a true and sincere message to people who were casting spirits upon him and making his life miserable.
Less than a year after the release of the album, Simon died and Allan says the death was "mysterious".
It is believed in the family that the bad spirit was responsible for the death of Simon and other three elders within a few years.
"Our father died a few days after complaining about a strange object that was choking him and Simon also complained of a sore throat and passed away barely a month after father's death," Allan explained.
Although the family members believe Naison's death was natural since he had been ill for a long time, they raised questions about Briam's death. Briam complained of swollen and painful legs.
Allan admitted that these strange happenings had seen him leaving his fathers' religion to become an apostolic sect member.
"At my church we have what are known as angels of war that have the power to forecast any problems in one's life and help that individual fight the problems," he said.
"I have been told a lot of things about this evil spirit and I have waged serious wars against it victoriously. I was actually the next in line after Briam's death but I am still strong. I will only die by the will of God."
Although Sulumani could not reveal much about the "horror" that he sang about, the musician said he has visions of people visiting him at night.
"You can see faces of people you know coming to haunt you at night. Most of the time I just get paralysed. I fail to move or even shout. It is a harrowing experience but I believe it happens to many other people."
Sulumani has moved from one Pentecostal church to another but is now settled at the one whose leader is believed to be blessed with immense powers to cast away evil spirits and diseases.
In the same vein Tryson -- Naison's oldest son -- believes that God will protect him regardless of the prying spirit.
"I will not be affected anymore. My God will protect me through whatever situation," Tryson said. – The Standard

All these things went with Simon to his grave.

I fell in love with the Marxist Brothers’ music long before meeting Simon. Although he was popular before his jail term, Simon became a real super star when he returned. Then he would perform six days a week. At Boomerang, the Tube along Mbuya Nehanda, Mushandirapamwe and then Saratoga.
During the Jenaguru concerts at Gwanzura in the late 90s when Alick Macheso was rising, fans would wait for Simon to come from wherever he would be performing. At one such event, his Mazda 929 was almost lifted by ecstatic fans.
When I finally met him in 2004, his fame had subsided. He came for an interview for the Saturday Herald’s Star of the Week column. I had just joined the stable as a senior entertainment reporter.
For one thing, Simon had a taste for good clothes. And in one interview he says that when their music started selling well, they spent lots of money on clothes. So he came and we did the interview which centred mainly on why he included a song or two about the liberation war on his albums.
When I asked him about his war credentials, he was non-committal. I did not push further.
He then refused to have pictures taken then because he wanted a proper photo-shoot and he had to get a new suit and have his hair done. We had to arrange for the next day. He also chose Sunday Mail photographer, Lee Maidza, who is now with H-metro to take the pictures.
Indeed, he came the next day as per his promise. He had a dark pin-stripped suit and had his hair done the traditional Chimbetu style – bhibho cut.
Then we spent time scouting for a suitable site. The Africa Unity Square was not suitable, he said, too many people. The streets, he said no again. We had to drive to Masasa.
It took us about an hour to get the pictures right. Every time he would ask to see how the shots looked like.
The story was crucial for him then because it was a critical time. His shows rarely drew a huge crowd. People were shunning him ostensibly because of his album Hoko which spoke about State House being unreachable.

This is the story
Chimbetu true black fighter
Artist includes a song on the liberation struggle on every album
Most people make plans, set resolutions and enact laws. But not all of them carry out those plans; fulfill the resolutions and follow the law to the last letter.
Those who do so only show their commitment even in the face of difficulties and life threatening situations.
There is usually a set pattern in the life or work of such people. One can easily trace a distinct development that may start at an early age into adulthood.
This is the kind of pattern one sees when they look at the music of Simon "Chopper" Chimbetu. It's a pattern that established him as a fighter for black emancipation through music from the onset of his musical career.
As such, on every album that he has released over the years, Chimbetu includes a song that talks about the war of liberation.
"It's every musician's duty to remind the people, especially the young ones who never saw the war how it was like then. So whenever we perform at national events such as musical galas, we should not forget the message in the songs," Chimbetu, who denied that he was a spent force, said this week in an interview,
"The message on my songs, especially Hoko, led to a campaign aimed at bringing me down. Yes, there was a time when sales of the same album went down. People were afraid of attending my shows. Those who came did so under protest, but still they came.
"I do not know what was the difference between Hoko and all other earlier albums in which I included songs that have a war theme."
Calling his music Dendera and the type of their dance Njuzu, Chimbetu's music is indeed about the war.
His first album, Mwana Wedangwe, released in 1983 carries Ndiri Musoja and Patakatsika. The son in Ndiri Musoja bids his parents farewell and gives himself over to the cause of liberating the majority.
On Dendera Resango, his 1984 release, there is Africa, a massive song about pan Africanism. With Africa, Chimbetu evokes the spirit of Che Guevara, a South American freedom fighter who loved to see all the peoples of the world living freely,
Guevara's home became those countries where people 'still lived under oppression. In the 1950s he helped Fidel Castrol in Cuba before travelling all the way to wage war in the jungles of the then Belgian Congo.
In a way, Chimbetu's Africa also serves to show that exploitation of man by man is universal and that problems arising from such acts are common.
Rwendo Rurefu is found on the album Gomo Risina Muchero, which was a powerful album with evocative lyrics. The song Rwendo Rurefu itself narrates the trials and tribulations of the long and torturous journey the cadres undertook in order to arrive here today.
Offered on the 1988 album Boterekwa is Lisaidiye, which means help while Nguva Yakaoma (1990) carries Shingisayi Moyo.
In 1995, Chimbetu released two albums - Zuva Raenda and Survival. Zuva Raenda itself was about war while Survival has Pane Asipo.
Pane Asipo has turned out to be the song people longed to hear play when a hero or heroine passes away. It reminds people about those who never walked back home to enjoy and celebrate the way we do. And that void, no matter what we do, will remain open.
Pachipamwe was the 1996 album and the title song was the song about war. It simply meant that we still have the same problems. This was an apparent reference to the land that was still under the ownership of a few whites.
The reluctance by the whites to integrate with the majority blacks is the subject of a song now popularly referred to as KuBudiriro by Chimbetu's fans. Here he takes a swipe at the isolationist attitude of the minority whites who whenever blacks move into the neighbourhood, they change location. It's the same with schools, sport and industries.
Chimbetu says that while we think that we are Zimbabweans, the truth of the matter is that the whites are in their own country since they do not bother to be part and parcel of State functions. One does not see them at soccer matches,
"Can't they play'" Chimbetu asks. Maybe, we do not have to look far to see what he meant - look at cricket and you will understand.
But his 2002 album, Hoko that came at the height of the land occupations defined his future. The private media made mince meat of Chimbetu. He was ridiculed for his stance on land. But in the face of such difficulties and life-threatening situation, he stood resolute because he believed in the cause.
As usual, in what became a case of right over wrong, wrong prevailed and the album that celebrated the taking over of land by the majority blacks suffered poor sales as compared to all his previous albums,
"I must admit that Hoko was affected by the campaign by my enemies who encouraged people not to buy my music. I was told that some people even threw away or destroyed cassettes and vinyl they had," said Chimbetu, who was quick to add that the sales of the same album had since picked up.
"When I released the album, people did not understand it. The music seeks to educate and inform, not to encourage violence and such other things.
"I am glad that now people have seen the light. Even those who threw away my music are buying it back. I do not regret singing about land. I do it not for myself but for my country. What was done (taking land back) is right. Even the whites know that it's the right thing;" said Chimbetu, a resettled farmer himself, who believes that resettlement will eventually help the economy to regain its former glory
"When people get enough to eat, then they will able to sell the surplus. This way, the economy will not be overburdened." Chimbetu's resoluteness was also shown when he returned from jail in the 90s.
Instead of moaning and sulking over his misfortunes, he came back into the music industry with a bang. No show was a show without Chimbetu.
At Gwanzura during the Jenaguru Music concerts, fans would sleep in the turf while waiting for Chimbetu to have his turn on the stage.
At one time, it took him about 30min to drive from the vehicle entrance to the back of the stage at Gwanzura, a 30th stretch, when fans mobbed his car.
It takes real men to stick to what they believe. Many have wavered before but not Simon Chimbetu.


Hoko is a very brilliant album but most people missed the message just like any one would miss the message in any one of Simon’s albums.
The message was misconstrued as referring to the opposition parties and their leaders. So just like Andy Brown and Cde Chinx, Simon’s popularity plummeted. This also affected his last album $10m Reward. The only shows which guaranteed Simon huge crowds were galas.
This made him stronger in his beliefs and ideology and support of Zanu-PF. In one interview with Mduduzi Mathuthu he declared: “I fought in the liberation war and still think of my comrades who died in my arms.”

Read the whole interview below:
Chimbetu: 'I am a critic of foolish politics'
By Mduduzi Mathuthu

When we put a news flash on the website last week about our forthcoming interview with sungura music king Simon Chopper” Chimbetu, the floodgates to hell flung open.
New Zimbabwe.com was now a Zanu PF mouth-piece, some of our readers shouted. Simon Chimbetu is the musician who has become embedded with the ruling Zanu PF party and has in fact boasted of evicting a white commercial farmer in Kadoma at the height of the infamous land grabs, we were reminded.
You got the feeling we had done or were about to do something treacherous by giving space to Chimbetu. But we remained determined to talk to Chimbetu. It has always been our policy not to judge anyone, but rather hear their story and present it to the court of public opinion.
So when I was ushered into Chimbetu’s dressing room just before he went on stage in Bradford, England, a picture of a militant war veteran averse to reasonable dialogue started forming in my mind.
“You are ex-Daily News and you now work for the dot com thugs? So what do you want from me,” I expected he would say when I introduced myself.
Much to my shock, and maybe disappointment (being mouthed off by celebrity is usually a good story), Chimbetu greeted me with a hug, then offered me a seat just adjacent to him.
“Every Zimbabwean is a friend,” he told me. “We all have different views about issues but we are Zimbabwean first and we should not forget that.”
Clad in jeans from top to bottom and wearing a huge smile, it was hard to believe that the man I was looking at -- a former music icon for many – is the war veteran credited with forcibly driving out farmers in Kadoma.
At 49, Chimbetu looks as fit as a fiddle. Memories of those sell-out shows that I used to watch at the Large City Hall in Bulawayo came flooding back. It was hard to believe that once Zimbabwe’s best seller, the man before me is currently fighting to stay afloat in the music industry after years of dominance.
I mentioned a call I had made to my sister who is by no means a music enthusiast. I had told my sister in Zimbabwe that I would be interviewing Chimbetu later in the day, to which she had responded: “Chimbetu is a nobody here….he now plays in the Growth Points like System Tazvida.”
The expression on his face was that of utter amazement and disdain. Chimbetu, who describes himself as a "critic of foolish politics" is a man of conviction and courage, as I later discovered during the interview. He intelligently picks his words, calmly spitting them out with much hand gesticulation.
“Yes I play at Growth Points, but is there anything wrong with that?,” he quizzed me. “How do you grow as a musican if you don’t play at Growth Points? I find that the most normal thing to do and it gives me much satisfaction to be among the people who got me to where I am today.
“I have never been a main to exclusively play in comfy surroundings,” he said. “I went to war and saw how my friends suffered, died and were buried in shallow pits. Their suffering and my own has caused me to detest luxury.”
The man might not be popular in Zimbabwe, but in the UK he was a hit. At least 2000 people attended his show at London’s Stratford Rex, and they were not disappointed. Oozing confidence and defiance, Chimbetu belted tunes from old and the recent past as the first artist on stage before Mzekezeke and Mafikizolo, and then returned to bring down the curtain.
But no public showing of defiance can cloak the fact that Chimbetu is currently news for what his fans rightly see as the wrong reasons.
Last month, two war veterans took him to court over a disputed farm in Kadoma which measures 500 hectares. Chimbetu is engaged in maize farming, milk and cheese production and cattle rearing on the farm.
"What I am saying to these two fellow war veterans is that they are my
brothers and I am prepared to share with them because we waged the Third
Chimurenga together in the district….,” Chimbetu told a Herald reporter.
The Third Chimurenga he refers to is the violent seizure of white commercial farms by President Robert Mugabe’s shock troops. Surely, that can’t be right for a musician who still wants to further his career, I put it to him.
“It will be difficult to convince me that what I am doing is wrong,” Chimbetu retorted. “We are correcting a part of history which for many years our younger generation did not learn maybe due to the education system, or they were simply not allowed to learn.”
By now I was feeling the political animal inside Chimbetu, as his face contorted with every sentence.
“I fought in the liberation war and still think of my comrades who died in my arms,” Chimbetu says as he warms up to his theme. “They never fought for their own families alone but they fought so that Zimbabweans can repossess what had been taken away from them by the whites.
“I look at the opposition parties across Africa, just as I look at all new things that come up, and I realise that they have no base. I am a revolutionary and what I see in most of our opposition parties is a group of people who have no foundation, they can’t think on their own.
“Such parties have no national interest but rather selfish ambitions and don’t deserve to lead the people and the people don’t deserve to be led by them. In fact we must not talk about them because they are already out of the game. That is why you are seeing revolutionary movements across Africa reinventing themselves and identifying with the people while the opposition is waning.”
Being a war veteran is not wrong, I reasoned with Chimbetu. But the accompanying violence that has become part of the Zimbabwean life must surely be something that he thinks about.
"I am against violence," he says. "If we fight, that's when the enemy will gain access to our minds and begin to control us....fighting among ourselves will make things worse."
Such is Chimbetu’s connection with the liberation war that he has named his farm and his backing band Dendera, after the Mozambican camp which the Chimbetu brothers called home during the revolutionary struggle against white settlers in the 1970s.
As a musician, Chimbetu, like many before him, found his footing in a band before heading out to pursue a solo career, first finding success in the Marxist Brothers.
The Marxist Brothers eventually dissolved in the mid-90s as the members left to pursue their own careers, while others joined Simon's backing band, Dendera Kings. This set the stage for Simon to assume the position of one of Zimbabwe's premier sungura artists.
Taking the torch from acts such as Jonah Moyo, Chimbetu hit stardom with albums such as Survival, and Lullaby. Compared to most Zimbabwe rhumba and sungura, Simon's songs feature guitar solos sandwiched between prominent vocal lines and repetitive guitar riffs. His music is similar to that of his earlier band, the Marxist Brothers, as well as popular rhumba musician Leonard Zhakata. His songs tend to focus on the working class and the poor; unsurprisingly, therefore, Chimbetu has come out in support of the recent land grab.
It is time for Chimbetu to go on stage. As I am ushered out, it is clear to me that Chimbetu will not change his views about the events in Zimbabwe. He is so convinced he is right that he will risk his career to hold on to his views. Brave man, I think to myself.
“When no-one likes Chimbetu anymore,” he says as I prepare to walk out, “tell them to remember the good things that I did.”
There!

I last spoke to Simon after the accident he had on his way to Karoi a few months before his death. My colleague Garikai Mazara had accompanied him to Karoi. He called giving me the details of the accident and I spoke to Simon who said he was fine.
But a few months down the line, he was taken ill and died.
For the first time, most probably, a musician was given a national sent-off. When his body was taken from Mashfords in Harare in the early evening, the city ground to a halt. The block where Mashfords is was closed off to traffic as people jostled to get a glimpse of the man whose music spoke about their plight.
At least, this is what most people forgot about Simon’s music. Songs such as Zuva Raenda and Ndaremerwa are about the people’s plight.
Then from downtown Harare, the hearse went to Gwanzura stadium where a huge crowd was waiting. It was more of a celebration for a life well lived than a death so saddening.
Simon was then laid to rest.

Read story below

Fans pay last respects to Chimbetu
By Trust Khosa

Veteran singer Simon “Chopper” Chimbetu was on Wednesday laid to rest – Moslem-style – at the Chinhoyi Provincial Heroes Acre attended by thousands of mourners from a cross section of society.
The Dendera king, who died on Sunday at his Mabelreign home in Harare after a short illness, belonged to the Yao ethnic group that embraces the Islamic faith.
Speaker after speaker hailed Chimbetu as a great musician whose void would be difficult to fill, while stakeholders in the music industry said “Chopper” had left behind a legacy that should be kept burning.
Chimbetu was declared a liberation war hero on Tuesday and becomes the 16th person buried at the historic shrine.
In his eulogy, Chegutu MP and Cabinet minister Webster Shamu, said Chimbetu was not a ‘mercenary’ but a patriotic musician who had Zimbabwe at heart.
“Chimbetu has left behind an indelible mark on the music scene and he remains a pillar of strength as he was a true social commentator,” Shamu told the huge gathering.
“His love for the country saw him participate in the Third Chimurenga and he would accompany me wherever I held my campaigns,” he added.
Shamu, himself no stranger to the microphone considering his stint as a broadcaster for the Rhodesia Broadcasting Corporation (RBC) and later Radio Maputo, said musicians should take a leaf from Chimbetu, who, after building his career on the tradition of the protracted liberation struggle still remained focused by preaching the bitter lessons of the bush via music.
Mashonaland West governor Nelson Samkange echoed similar sentiments describing the late singer as a principled citizen who taught young generations about the values of the struggle through song.
Among the multitudes of mourners who thronged the cemetery were National Arts Council of Zimbabwe and Gramma Records officials as well as top musicians Alick Macheso, Nicholas Zakaria, Tongai Moyo, Last Chiangwa a.k.a Tambaoga, Cde Chinx, the Makombe Brothers and the pride of Chinhoyi, First Farai, to mention just a few.
Wife Angela and six children survive Chimbetu - Daily Mirror/ newzimbabwe.com
Obituary
Chimbetu: death of a fine gentleman



By Foster Dongozi

WHILE on night shift, one Friday evening, I decided to go and cover a music show by Simon Chimbetu, whose blistering hit album, Lullaby had just taken the music industry by storm.
At the time, I was working for the State-run newspaper, The Chronicle, in Bulawayo as an entertainment journalist. Chimbetu’s album also featured the popular song, Dzandipedza Mafuta, whose video was also a hit on television. The music show, promoted by John Nguruve at Green Haven was the talk of the town and I naturally made a request to cover the concert, with the extra benefit of enjoying the fun for free of course.
However, despite a sell-out crowd, the PA system that had been provided was faulty and soon, the crowd became restive. Normally, the crowd would have become violent and stoned the stage but at that time, Chopper commanded so much support and respect that the crowd did not become rowdy.
After realising that the show had been called off, I drove out of Green Haven with the then chief sub-editor, James Chikwanha and it was while we were getting out that the man of the moment, Chimbetu himself, approached us and requested to be left at the Bulawayo Rainbow Hotel where he was booked. He said he had flown to Bulawayo and did not have a car to drive himself around. The soft spoken and shy looking king of Dendera music feared that if he hung around the area after the aborted show, angry fans would vent their frustrations on him.
In any case, it would not have been difficult for the disappointed fans to identify him because like the rest of his band members, he was spotting a box cut and a multi-coloured waist-coat which he and the Orchestra Dendera Kings had popularised. Before we left him at the hotel, Chopper thanked us profusely for coming to his aid. Upon parting for the night, I requested for and was granted an exclusive interview about his rise in the music industry, including his low points like his incarceration on allegations of stealing a motor vehicle.
That was to be the beginning of a relationship that would continue despite my crossing the floor to join newspapers like The Daily News and later The Standard, which were perceived to hold uncharitable views of the king of Dendera music. On Monday, while surfing the internet to catch up with news from back home, I was shocked to see a screaming headlines: Simon Chimbetu Dies. I quickly dismissed the story, assuming a sub-editors had made a mistake, probably following the death of one of Simon’s brothers. There was no way Chopper could have died. After all, before coming to Cardiff for my current studies a few weeks ago, he had invited me to one of his shows in Harare. During the break, and over some drinks, he had spoken about his up-coming tour of South Africa and plans to market himself in Southern Africa. He spoke animatedly about how preparations for last month’s Joshua Nkomo Gala were going on well.
Before we parted, he indicated that there was a possibility that we would meet in the United Kingdom as plans were underway for him to stage shows in the UK. We promised to hook up in Britain if he came for the shows. At that point, we parted because he was about to go back on stage. Last Friday, I tried to phone his number to find out if he was still coming to the UK but his number went unanswered. So, based on what had transpired before I left Zimbabwe, it was natural to dismiss the death story as a mistake but as I read the story, it became starkly clear that it was Simon Chopper who had indeed died. It was clear from the stories that the death was sudden and unexpected.
While the nation mourns one of its music icons, some journalists will remember him as a celebrity who was co operative and was free to grant interviews at the drop of a hat.
Since rising to fame, Chimbetu was one of the few musicians whose policy was that all journalists could attend his shows for free as long as they produced their press cards. There are some big names in the music industry who still insist that only journalists on duty can attend their shows for free. I also remember very vividly a few years ago when veteran journalist and former Herald political editor, Philip Magwaza died. While mourners were still coming to terms with his death, it was Chopper who ran around and ensured that there was food for the funeral wake.
A few weeks ago, Chopper had agreed to be one of the musicians who would perform at a music show to raise money to assist in the operations of the Zimbabwe Union of Journalists. He also spoke about how he had cared for fellow musicians, John Chibadura and System Tazvida during their last days.
Although we rarely discussed politics, on the few occasions that we did, he was never apologetic about his support for Zanu PF despite the fact that it had cost him a huge following.
“People just pretend not to like me for political reasons,” he would say. “They are still buying my music. And in any case, if I was that unpopular, why am I always being invited to the UK, where I sing liberation songs and Hoko?”
He always said he supported revolutionary parties with a liberation history because as a war veteran, he could not change his beliefs.
“I have always included liberation songs on all my albums so what I don’t understand is why some people would now think it is wrong to sing such songs.”
One of his favourite hangouts in Harare was a restaurant in the Avenues in Harare, patronised by journalists and political activists. One of the lasting memories that I have is of getting into the restaurant and finding him locked in a good natured political debate with MDC national youth chairman, Nelson Chamisa.
It is only with hind sight that on the day I attended his last show where he belted his golden oldies, the show ended unusually early at around 3am. Usually his shows would end at about 5am. He always said ending a show before dawn would expose his fans to attacks by thugs. Maybe he was not feeling well after a recent car accident. Rest in Peace Comrade.
Dongozi is a former entertainment journalist with The Chronicle newspaper. He is now a senior staff writer with The Standard newspaper and secretary general of the Zimbabwe Union of Journalists – newzimbabwe.com
See Alan Chimbetu and Naison’s stories.

Chex Tawengwa and another Mbare outfit Tutenkamen

Mbare was a musical hub during Rhodesia while Mabvuku and Tafara spawned actors. Ask most older generation musicians and they will tell you that ndevekuMbare. Thomas Mapfumo, Safirio Mukadota Madzikatire, all the jazz greats, the Pied Pipers and then there was the Tutenkamen Band of Joburg Bound fame. I caught up with Chex Tawengwa


Chex Tawengwa was a real Mbare guy. He had a moustache and drove an old Merc.
Of course, I had to wait for him to pitch up at his home in Beatrice section of the sprawling Mbare Township two years before his death.
He came, a cigarette dangling from his lips and looking at me the Mbare way – suspiciously. At the time, Chex was struggling to get a version of 2plus2 up and going.
Hironimo Homo Ruzive who played with Chex in the Tutenkamen cut a different figure f rom Chex. He had no confidence like Chex. At 60 at the time of the interview, Ruzive still had vivid memories of how it was during the 70s when they were part of the Tutenkamen band.
Unlike Chex, I met Ruzive at Chans Shopping Centre just outside Harare CBD on a Sunday where he was turning up for a blues band called the Cool Action.

I put together the story below:

If the song Itai Cent Cent by the now defunct 70s group Tutenkamen is to be played on the radio today, it will fit snugly into what is happening now because broke as we always are, we real need someone to give us some donation.
In itself, the song is an embodiment of everything that was township music then. It tells a sad story of poverty and depravity when blacks were confined in poorly built and overcrowded suburbs where murder, prostitution and every other social ills occurred unabated.
In a way, the old song is about today, about the problems we face in the ghetto where life is about sharing and carrying each other when the going gets tough. It is about the lives of its members who were born and bred in the ghetto during those dark years of segregation and inequitable sharing of the country’ resources.
It is about the Tutenkamen Band that sprung from the pains and aches of those times to soothe and breathe life into the broken souls of the African in Rhodesia in the 70s.
Filecheck tracked down, Christopher Chakauya ‘Chex’ Tavengwa and Hironimo Homo Ruzivo, two of the surviving members of the group who were there when it was formed and remained after the split that led to the formation of the New Tutenkamen.
Hironimo is now 60 while Chex is just over fifty. Both are still active in music. Chex is still trying to revive 2plu2 while Hironimo plays with the Cool Action Band.
According to the two, in the beginning was the band All Saints whose members were the late John Papas, Amos Chatyoka, ‘Chex’ Tavengwa, the late Elisha Josamu and Heronimo.
During those days they played mainly soul and some rhumba.
‘We were the best soul group at the time,’ Chex said adding that they used the late Kenneth Chogugudza’s instruments when they started.
After playing together for some time, the band started disbanding. First to leave was Elisha who went to Malawi where he joined another band. Amos was next after he had secured employment. Papas, who was with the air force then, also left.
‘This paralysed the band’s operations and we stopped playing,’ said the Mbare-born Chex.
Just as fate would have it, the rhumba outfit, OK Success split and its leader, the Zairean-born Joseph Ngoyi and Godfrey Musambika came looking for Chex. They had a set of instruments.
‘They told me about plans of starting a band and since I was seated at home, I agreed. I summoned Heronimo, Louis Mhlanga’s elder brother Carol, the late Noah Mbirimi, Jimmy Kanyemba, Godfrey Sinkolonko and the late Charles Chidavaenzi. Then there was Joseph and Godfrey and I. Tutenkamen was born.’
Soon after playing together, they won a contract to play at the Mushandirapamwe Hotel, Dombotombo in Marondera. They relocated to Marondera where they stayed at the hotel and played.
It was during the time that they recorded Itai Cent Cent and Torai Kapadza Muchirima, something that put them into the league of the Pied Pipers and Eye Q, the first local groups to record original songs in defiance of the odds stacked against the blacks during the time.
‘We had a contract to play for Mushandirapamwe Hotel in Dombotombo Marondera. When the Highfield Hotel was opened, we moved back to Harare and were the first group to play at the popular hotel which catered for Africans who were not allowed to be anywhere in the city centre after 7 p.m,’ explained Chex.
Just as usual when bands get popular, financial squabbles surface and splits occur. ‘Ngoyi claimed composition fees for all the songs including the ones he had not composed,’ alleged Heronimo. ‘He even falsified information to make him the composer of all the songs.
‘In fact, Ngoyi and Godfrey had cars, which they would use as taxis everyday before coming to play. In their absence, we continued to play but when they came they would make all sorts of demands. They did this because the instruments we used were theirs. This caused discomfort amongst us and the hotel management became aware of it,’ charged Heronimo.
‘Seeing our problems, the hotel bought us new instruments, gave us more money and uniforms,’ said Chex.
This put pressure on Ngoyi and Godfrey and led to their departure and the return of Elisha and John Papas. But Papas was to leave early when he went to join the late Simangaliso Tutani. Jethro Shasha replaced him. It was at this stage the group assumed the name New Tutenkamen.
‘As New Tutenkamen we recorded Jo’burg Bound which was composed by Elisha,’ remembered Chex.
Jo’burg Bound came at a time when a number of Zimbabwean youths were leaving for the liberation struggle and others were crossing into South Africa to work in the mines. They also released an eight-track album, I Wish You Were Mine on which is the single Mukadzi Wangu Akanyengwa naLuwizhi.
They had time to share the stage with the likes of the blind American singer Ray Charles and Percy Sledge, South African musicians Sipho ‘Hotsticks’ Mabuse, Ray Phiri as well as the Hurricanes.
Later, Homo and Carol were to leave after another financial disagreement with the hotel management. It was during this time that Moses Kabubi and a lady Maggie Mbuli joined the band.
Still the band did not stay long at Mushandirapamwe following endless squabbles.
‘We moved to Saratoga Nightclub at Machipisa and played there for a year. From Saratoga we went to the Kambuzuma Garden Party Hotel. Just then the war was heating up in the country.
‘During that time, there were intra-party fighting and in the black suburbs political parties had designated their areas of influence. Patrons stopped coming and our shows were affected greatly. The members started leaving one by one,’ said Chex.
Chex had to find a job with the National Railways of Zimbabwe in Harare where he worked for four years into independence.
Elisha approached me and said that we should form a band. I agreed and we started practising with a box guitar. When we were ready, I asked him what we should call the band and he said that since we were two, we should find two others and then call the band 2plus2,’ laughed Chex as he relived the moment.
The other two were in fact three members. These were the late Andrew Nzimbe and Sam Banana as well as Tendai Chinyani. Phillip Svosve also joined the group.
‘I then asked Elisha whether we were still 2plus2 and he would say, ‘Yes, two plus two is foifi,’ said Chex who recorded Joburg Bound for the second time.
As 2plus2, they released Masimba but death hit the band resulting in the limbo it is in now.
Now over 50, Chex still hopes that 2Plus2 will one day rise and play again.

Chimbekeya and the Famous Seven

I have met Zimbabwean musicians whose names can mean anything under the sun. Listen to this Mathias Gaston, Sydney Sabawo, Simon Bhaudheni and Sheila Saizi. And they were once led by one Staben Mawire. Yes, you guessed right - their band name was Famous Seven. Again their hit single was called Chimbekeya - Wonder Guchu

It is only after you have spoken to the musicians and written the story when you realise there are some names. I did so when I met the Famous Seven.

Are the Famous Seven - who first stole the music limelight with their hit single Chimbekeya in the 1990s - still famous, as their name suggests?
And if word that they are back and here to stay in an industry where the likes of Alick Macheso rules the roost is anything to go by, will they manage to stand on their own feet without the leadership of Staben Mawire, whose death created a yawning void in the band?
Moses Tafirenyika, one of the few surviving members of the Famous Seven who conceded that they had gone quiet but were now on a revival course.
"Zvanga zvadzikira, but if we keep on holding more live shows as we are doing right now, we will definitely rise again. We have two new albums in the pipeline," said the 43-year-old Tafirenyika who repairs sewing machines in the capital.
So, when can people expect to see the two albums on the market?
"We are currently assessing recording companies in order to see which ones we can best work with. We want a recording company that will accept our music on merit."We were frustrated when we recorded three albums with RTP between 1997 and 2002. They were not marketed properly. We ended up wrongly accusing radio DJs for not playing our music on air but they would tell us that they never received any promotional copies from the recording company," he fumed.
How did the name come about in the first place?"It was in 1989 when we were operating as Mutinga's Combination and we felt time was ripe for us to record our music. We feared that if we were to record using Mutinga's name - the owner of the instruments we were using then - would lay claim to ownership of the band and that is how we settled for the Famous Seven."Tafirenyika said.
The original Famous Seven comprised himself and his brother Job, Mathias Gaston and the late Sydney Sabawo, Simon Bhaudheni, one only identified as Eddie and Sheila Saizi.
"We then hooked up with Mawire a few months later after the people he was supposed to record with had ditched him. Our first single was Sarura Wako followed by the album Ndafunga Kure three years later," he recalls.
The group's big break came in 1992when they toured the United Kingdom and performed in Birmingham during a gig that featured three other bands from the Caribbean Islands, Tanzania and the Democratic Republic of Congo.
Born on April 10 1965 in Murehwa, Tafirenyika started playing the lead guitar at a very tender age dabbling with homemade guitars before going professional years later in Mabvuku by teaming up with several other youths who had a passion of music.
To other musicians, Tafirenyika who is married to Synodia with whom he has three children has this to say: "One of the keys to success in music is perseverance. Music inoda kushinga because chipo chinoerera nemvura. To our fans, we are not dead we are still there."

Cool Action band

When experienced old musicians come together to perform, it's like small streams carrying water from secret springs to a dark deep pool. Listening to the music they play becomes a feet dipping exercise into the cool waters. I stumbled on such a group made up of experienced old musicians who had played in different groups as they charted the country's musical future - Wonder Guchu

At first sight, a bunch of old men playing music on a verandah of a bar at Chans Shopping Center near Epworth about twelve kilometres from Harare, looks like a Sunday rag-tag band out to enjoy themselves and to entertain revellers.
There are so many misleading factors. One, they are all old - around 50. Two, most of them play while seated except the tall gangling trumpeter. And three, their instruments are old and worn out.
But wait and listen to the sounds that are coming from the verandah. If you do not dance, then you certainly find somewhere to sit, buy a drink and while away time with them.
They are old yes, and they use old worn out instruments but they are amongst Zimbabwe's greatest musicians who have been there when the local brand of music was being molded.
They were there when the late Peter Kanyowa led the Epworth Theatrical Stratas into a big thing. They were also there when the late Augustine Musarurwa and his Bulawayo Cold Storage Sweet Rhythm Band released the world famous Skokiaan.
And after all these years, Reuben Mombeshora (59), trumpeter Daram Karanga (60), Andrew Adams (45), guitarist Ignatius Nyamayaro (60), Heronimo Homo (57) and Chains Asani (57) gathered what had left of their musical careers, heaped them onto this thing that they now call Cool Action Band.
They have released an album, Sarah.
Reuben Mombeshora, former businessman who owns the Cool Action band is a great musician in his own right.
He started as a nomadic solo guitarist who played to raise school fees after his father's death.
'When my father died, I had no one to pay my school and I had to leave my Sub A lessons to play the guitar,' he explained.
In 1960, he moved to Highfield from Epworth. There he met Greenford Jangano of Harare Mambos fame. Together with Daram Karanga, Ashton and Andrew Yuda as well as Frank and Charles Chimumanzi, they formed the Smugglers Band.
'In fact, most of us who ventured into music during those days were inspired by the likes of the Epworth Theatrical Stratas and Augustine Musarurwa,' Reuben who late married Kanyowa's daughter said.
Ignatius Nyamayaro's musical background dates back to the early 50s when he was in Standard 4 (Grade 6) in Highfield.
His carpentry teacher inspired him by letting him and his classmates play his guitar. Later they fashioned their own guitar which they kept in a cupboard at school and which they took turns to play during break time.
Some of his classmates included Michael and Tim Makaya who is now with the jazz outfit Jabavu.
Later, he joined the Harare Mambos and played with them for five years when they were the resident band at Hotel Elizabeth in 1972.
When he left them, he joined the St Pauls' Band at the Skyline Motel. Both St Paul's Band and Skyline Motel which is just outside Harare along Masvingo Road were very popular during those days.
Shungu Band was his next stop. There he met and played with Noah Matselele, Tim Makaya, nelson Mapako and Bruce Sasikana.
'We were the first group to play at the now defunct Kambuzuma Hotel and earned it the name Garden Party,' explained Ignatius.
After spending 12 years at the Garden party, the band disbanded and he found himself playing as a session musician until he met by chance, the Cool Action Band.
'Their bass guitarist had not turned up for a show at Captain Dete Restaurant at the National Railways of Zimbabwe Harare main station. I happened to have been there and I asked if I could stand in for them and here I am,' he said.
The third member of the band, Daram Karanga is one who can claim to have seen much of the action in the music industry.
He hit it off with the Locolads together with Reuben Mombeshora, Greenford Jangano and Patrick Chimamuna years back. Then he moved to the Springfields where he met for the first time, Thomas Mapfumo.
From the Springfields, he teamed up with Eliah Banda and John Mlambo (Chibhodhoro) and formed the Great Sounds in the mid 60s.
In 1968, he left the Great Sounds for the Zaire rhumba outfit, OK Success with which he travelled and played in Malawi for about a year.
On his return, he founded the Hallelujah Chicken Runn Band in Mhangura. He co-opted Thomas Mapfumo. After the disbandment of the band, he met the late James Chimombe and took over the Ocean City Band after the late Safirio Madzikatire had left. There he met Phillip Svosve.
When monetary problems rocked the band, together with James, they formed the Huchi Band which later backed the late Solomon Skuza.
Heronimo Homo too has great musical past. Having started off with the Mbare based St Peter's Band where he played with Chex Tawengwa, the late John Papas and Amos Chatyoka. Later, they formed their own outfit, the Saints Band which morphed into the legendary Tutankhamen when Andrew Ngoyi and one other member of the OK Success came to join them.
The original Tutankhamen lineup had Joseph Musambika, Carol Mhlanga, Godfrey Sinkolonko and the late Elisha Josamu.
This was the group that release Itai cent Cent and the famous Jo-burg Bound.
At 45, Andrew Adams is the group's youngest. His musical past too is not long. He was a member of the revived Smugglers in 1973. Then he joined the Wild Dragons in 1975 where he played with Rise Kagona, Shack Kangwena and Washington Kavhai. The late Biggie Tembo had not yet turned up on the scene. When the Wild Dragons morphed into the Bhundu Boys in 1980, he left.
Chains Asani is one who has rubbed shoulders with likes of the late Safirio and Fanyana Dube, played with the Acid Band and helped the energetic Boggie dancer, Tendai Chidarikire.
The band has played at the Jazz 105.
In a way, they are the Harare version of the Bulawayo Cool Crooners Band.

What is Leonard Zhakata afraid of?

I grew up in my rural village of Rusape where as a child I was exposed to the liberation war that pitted the colonial Ian Douglas Smith regime and the Black liberation fighters. I was one of the smallest war collaborators and my experience during that time forms part of the music that I sing today.
I would like to reiterate that I am not a politically oriented musician, I do not support any political party and as such do not sing for any politician. My music is about Zimbabweans and for them - Leonard Zhakata


Leonard Zhakata is one musician who suspects that reporters from Zimpapers are out to get him.
In 2006, I tried to interview him for my Wednesday column – Filecheck but everytime, he would promise to pass by only to change later.
When I eventually caught up with him, one of his fans had come to ask me if I could feature him. When I told him that I had tried my best, the guy said Zhakata was scared of Zimpapers reporters.
So I asked the guy to arrange a meeting between Zhakata and me for the interview. We agreed, and Zhakata confirmed, to meet at The Herald House one afternoon. I am not sure how the guy had convinced him about coming to the base.
When afternoon came – it was a Thursday – I waited and Zhakata did not turn up. Then we rescheduled our meeting to Friday. We agreed to meet at Machokoto Bar at Makomva Shopping Centre in Glen View 3.
I went arrived around 12 midnight and the show was on. Zhakata was being mobbed by fans while delivering song.
Whatever is said about Zhakata, the man has style. He has not changed much from his swag shown in earlier videos. Even the dress was immaculate.
I hung around the seedy bar and the show went on for the next three hours. When he went for a break, Zhakata sneaked out and I followed him.
But still the interview did not happen. I had to make another call, he told me, and fix another date.
I gave up on him.
The last time I spoke to him, I was doing an article on when and how musicians get spent. When the article came out, Zhakata was not happy accusing me of writing negative things about him.
Maybe, it’s only me who sees it – Zhakata has a look of a man who is being persecuted. There is a sadness in his eyes and a skeptical expression on his face.
He is not the kind you see every other time.
Sometimes, I think there is too much sadness in his music too. Just listen to every one of his songs and you will realise that there is a lot of pain and sadness.
Writing for freemuse website on his ‘persecution’ and fears, Zhakata says 2005 was his worst year careerwise.
He, for the first time, reveals that he was a war collaborator.

Read his article below


Blacklisted – My Personal Experience

By Leonard Zhakata - Musician
"The last five years have been my worst in as far as my artistic career is concerned," states the Zimbabwean musician Leonard Zhakata in this personal account of how being blacklisted has affected him
I grew up in my rural village of Rusape where as a child I was exposed to the liberation war that pitted the colonial Ian Douglas Smith regime and the Black liberation fighters. I was one of the smallest war collaborators and my experience during that time forms part of the music that I sing today.
I would like to reiterate that I am not a politically oriented musician, I do not support any political party and as such do not sing for any politician. My music is about Zimbabweans and for them.
I was surprised the first time that I heard that certain of my songs had been banned from the airwaves because they were perceived to be politically incorrect. I did not waste any time when I learnt about this. I went to the Zimbabwe Broadcasting Holdings (ZBH) to enquire about this new development. At ZBH I held a meeting with the then Chief Executive Officer, Munyaradzi Hwengwere who professed ignorance at the said ban. Hwengwere told me that Disc Jockeys (DJs) at radio stations had the liberty to play whatever songs they preferred and that it was not ZBH’s policy to blacklist particular songs. It was disheartening to learn that the highest authority at ZBH could not help me, and that the banning of my particular songs were to the discretion of presenters. But I had doubts over Hwengwere’s explanation.
If I can point out that the last five years have been my worst in as far as my artistic career is concerned. Since when I released the album Hodho, which has several blacklisted songs, I have had negative articles in the state media who have gone all the way to show that I am a spent force. The independent print media has tried to give me coverage, but now with the absence of the Daily News which was shut down in 2003, my print coverage has been limited.
ZBH’s banning some of my songs saying they were politically incorrect, has led to some quarters thinking I am sympathetic to the opposition political parties. The result is that I have lost a number of my fans who do not want anything to do with politics. I have had to cancel a number of live shows in areas dominated by the ruling party as they threatened my person.
My story is one of growing up in the rural areas, then surrounded by war. I learnt to survive the hard way early. I have a lot of stories to tell from my childhood to where I am today. My music is a recording of events as they occur. I sing about my environs and people are free to interpret my songs the way they feel. It is unfortunate that with the current political, social and economic problems affecting the country, every song that I have released has been reviewed to suit a particular existing condition. If I sing about holding on to power, people think I am singing about the current President. But there are many people holding on to power – in companies etc. If I sing about change, people think I want the ruling party to be replaced.
The real sad thing is that our sole broadcaster, ZBH has also fallen into this mischief. The station has misinterpreted several of my songs and classified them as politically incorrect. I have several new music videos which I have prepared and given to ZBH for arial promotion but they have never been played. In making follow ups to my music videos, I have received conflicting statements on why they are not being played.
But I have high hopes that art stays longer and that with time my music will be played. I am eagerly awaiting that time when the airwaves will be free to play my music and hopefully that of other musicians who have been affected by this informal censorship.
The Zimbabwe censorship board has not come up with any spelt guidelines as to what we should sing or not. What they have done is to let broadcasters decide what they want played and what they do not want played. This has left the ZBH with a monopoly to blacklist songs it sees as politically incorrect.
My situation and that of other musicians has been made worse by the fact that we do not have independent radio and television stations that can offer alternatives. This situation has affected the smooth promotion of my products through the electronic media.
I still continue to work hard and promote my music through live shows around the country. What I have said to myself since my music began been censored is that I would continue to record music in the format I have been all along. I will not change my style, I will not tone down my lyrics and I will continue to sing about issues affecting the people of Zimbabwe.
I sing for Zimbabweans, and rightly so I sing in my native Shona language. I do not sing in English, and in singing in my native language I endeavour to be as elaborate as possible in my messages.
People who replace my lyrics with those that suit them are worsening my predicament with ZBH and government, but it is my hope that one day the broadcaster will accept my music for what it is – entertainment.
It is my hope that my music will remain provocative and create debate among the Zimbabwean society. As a musician I have the duty to serve my people, to sing about what I see around me, to sing about one man’s injustices to another, to rebuke those who manipulate others by virtue of being in powerful and authoritative positions.
Governments the world over censor music, and my case is not a unique one. But as my music is being censored there are fans who have remained loyal to my compositions and they have supported me through and through.
A lot has happened in the past and I have had no chance to come out in the open to give my side of story, luckily I have this time around. The next time, I will be talking about my once banned music receiving airplay on radio and television. Like the late great reggae star Bob Marley sang: “Time Will Tell”.


Leonard broke to fame in 1994 when he released the hit album “Mugove”. He is one of the top musicians in Zimbabwe, having made his mark in the 1990s and will always be rated among the best of his time. The musician was born in 1968 in Mutare and grew up in Rusape where he did his primary education before transferring to Harare’s high-density suburb of Glen Norah. The musician claims to have first received the inspiration to pursue a career in music in a dream, when he foresaw a family conflict, in the form of a song.
During his secondary education, he would attend music sessions with a group known as “Shika Shika Real Sounds” but his studies did not allow him enough time to fully participate in music.
At 13, he composed his first song titled “Baba VaSamson” which he later recorded on the album “Tungidza Gwenya”, thus fulfilling one of his childhood dreams. After school he teamed up with his nephew, the late Thomas Makioni who was also to become a popular musician later on in his life.
They joined Marxist Brothers as backing vocalists and then moved on to Haka Sounds in the late 1980s when the group eventually split.
Simon Chimbetu once claimed Zhakata stole the song Mugove Wangu which set up the latter as a giant on the Zimbabwean scene.
The duo then joined the Mazana Movement before forming their own group, the Maungwe Brothers. After a successful spell, the group disbanded and the two went separate ways with Leonard forming the Zimbabwe Stars.
Zhakata plays his own unique blend of music which he has Christened “Zimbabwe Original Rhythms of Africa (Zora)”, a tag he has kept to the present day.

Andy Brown is always angry - maybe with the media

Those guys are dead. Do you think I can bring them back (pause) I don’t understand you guys. Some of you are talking about reviving the group? How can I revive a group with dead people? - Andy Brown on Ilanga

Andy Brown is an angry man. He does not waste time in advancing towards you when he feels threatened.
When I was researching on Ilanga in early 2004, I called him for information since he was one of the group’s founders.
“What do you want?” I recall him asking.
I told him I was working on a story on Ilanga for the Standard newspaper.
“So what do you want me to do?” He asked further.
I told him again that I wanted some information on the group.
“Those guys are dead. Do you think I can bring them back (pause) I don’t understand you guys. Some of you are talking about reviving the group? How can I revive a group with dead people?”
He scared me and I hung up.Surprisingly, I had not spoken about an Ilanga revival.
The next encounter was Hatfield. I had joined the Herald then. He had just been released from a Kariba prison for evasion of maintenance. His long dreadlocks had been shaved off. I had done the story but I wanted to interview him about his daughter’s success in the Music Crossroads music competition.
He rubbed me the wrong way again. “You always look for negative things,” he charged. “I don’t give a damn who you are and where you from. If you write fuck about me I will fuck you!”
I immediately made a u-turn and disappeared.
But there were times when Andy would be nice. Like the days when The Storm, the band he formed when he broke away from Ilanga wad doing well. Those days when he used to be backed by Chioniso Maraire and the late Mandy Chibindi.
I recall vividly the day in 1998 when the Pied Pipers launched their album at Harpers at the Oasis Hotel in Harare. We sat there, Obert Mandimutsira (who used to present news), Comfort Mbofana and others drinking. We also spent the night laughing our lungs out from Andy’s jokes.
Somehow, he changed becoming aggressive towards the media especially after the Hondo Yeminda songs.
Andy, who was born of a German father and a Zimbabwean mother, grew up herding cattle and goats in Mberengwa, Midlands Province before moving to Gutu in Masvingo.
He apparently nurtured his career while herding cattle and goats but pushed it further when he relocated to Bulawayo for his secondary education after meeting the late Jonah Mtumwa.
After school, he had a stint with Ebony Sheik before meeting Gabriel Green with whom he started the group Pisces so named after their zodiac sign in 1980.
Three years later, he left for Harare where he hung out with Rosalla Miller and Boykie Moore who later became members of the group Grabb! The group, however, disbanded in 1984 when Rosalla left for England where her career peaked while Andy went on to join the Rusike Brothers for a short time in 1985.
Then he met the late Don Gumbo and Brian Paul who inspired the formation of Ilanga that released two unimpressive singles – Thandiwe and Song of Africa - resulting in Brian’s departure.
It was then when the Barrel of Peace - Cde Chinx, Keith Farquharson and Joseph Mosias Munyaradzi Brown - merged with Ilanga.
Later Busi Ncube, Adam Chisvo and Virgillio Ignacia also joined the group. Playing lead guitar and on vocals, Andy featured prominently on Ilanga’s albums Visions Foretold and Silver and Gold that are still as fresh a sound today as they were more than 10 years ago.
But Ilanga was a star-studded group whose members felt they could do better and more when they pursued solo careers.
Andy was the first to leave and founded The Storm after roping in Chiwoniso Maraire and the late Mandy Chibindi as dancers, and Ian Hillman as bassist among others.
The inclusion of Chiwoniso who plays mbira and who later became his wife (now divorced) brought the distinct mbira sound to Andy’s beat.
His debut album titled Storm came in 1989, Chimvuramabhwe was released in 1990 and Feed Me was his last in 1991 before taking a break when he left for South Africa where he played as a session musician for a number of artistes including the South African reggae star Jambo.
On his return four years later, Andy relaunched his career in a big way and released six albums in the following six years. In 1998, he helped Chiwoniso to record her debut album Ancient Voices.
During the farm invasions of 2000, Andy was part of the More Fire Crew that worked with the Ministry of Information and Publicity in the President’s Office in the campaigns that followed.
To some extent, his involvement with the land invasion campaigns took a negative toll on his career that briefly took a rest for four years after the release of the album Tongogara in 2001.
Currently, Andy is slowly returning as shown by the release of his album “Chiedza” in 2005 and his tour of the United States of America and various appearances at musical galas held in the country.