Brilliantly dumb Roki



Roki in BBA Stargame



There is something of a death wish in Roki - a swing that hangs around him at his most glamorous moments; some recklessness that pulls him down.

At his brightest moment, Roki can be intelligent, brilliant and mature. Those moments are clearly evident in the fact that he scooped the 2003 Nama Best Urban Grooves Artiste award; the

Zima Song of the Year award with Chidzoka and capped it all with Zima Best Video of the Year – again with Chidzoka.

This is the brilliance which earned him a place in Big Brother Africa Stargame where he was a favourite for the money.

But at his lowest moment, Roki can be downright idiotic, immature and a roving boomerang that can exact untold damages.

This too is the idiocy which had him sacked from BBA House thereby blowing chances of taking home US$300 000. 

It does not take one long to feel it. I felt it the first time I met him. It was not for an interview because I was never drawn to interviewing him although I value his talent and has always argued that if he gets a manager, he can be a big star.

I have, however, done two stories about Roki. The first was when he beat up his ex-wife, the mother of his daughter – Sky – Paulina at the East Gate in Harare.

I was passing by when I saw people rushing inside. I also dashed and there was Roki struggling with Paulina. He was shouting at her that their love was over.

The second time was in 2008 when he was arrested in the Avenues in possession of mbanje. Roki was arrested after police raided a flat in the Avenues area following media reports that he had confessed to abusing hard drugs.

At the time, Roki said abusing drugs was his way of life and that he took hard drugs regularly especially before live shows.

Since I loved Roki’s music and believed that if he got a good manager, he would realise his talents fully, I never wanted to interview him.

I have, however, put together various interviews from other sources to show how Roki has this death wish which could also be what led him to act recklessly and get expelled from the Big Brother Africa House Stargame after pushing Maneta too far.

In this 2003 interview below, Roki talks about urban grooves music, his friends, children, love life and background.

 

When and how did you get into music?

I was born into music. My uncle Kenny of the legendary Bhundu Boys taught me a lot from an early age. When I was eight I started to learn how to produce music. Basically, I can say I have always been in music before I got into the limelight that is in 2002 courtesy of [Delani Makhalima] Galaxy Records.

Who is your best friend?

I have few best friends; these are Leonard, Discord, 23 and Tendai in Australia.

Who is your greatest musician in Zimbabwe and why?

Thomas Mapfumo. No doubt the man is the best in this country because he is a revolutionary musician. His music has the power to change the way people think and that is real music.

Who is your greatest international musician and why?

Michael Jackson because he is the greatest musician of our time.

 Is there any future for urban grooves in Zimbabwe?

My question to that person is: 'Is there any future outside urban grooves? If so, what is it?' Urban grooves is the only future I see.

Do urban grooves make money from sales (CD/tape)?

Some do. I sell some CDs at live shows. The distribution of urban grooves CDs is not organised and a worrying issue. The music is not accessible anywhere and that is why people turn to burning CDs which in turn disadvantages the musicians, At the moment we are working on something to reduce the piracy.

 Is Roki into any other business other than music?

I am into entertainment business. I am a trained stage manager and apart from the business of entertainment, no I am not into any other business.

 Why do you dress like a girl?

 I was born in a family with girls only. If my style is a bit feminine it is because of my upbringing. I don't think I dress like a girl but I think girls are pretty and so am I.

Why did you dump Pauline? Do you think you will ever settle down?

First things first. People should know that Pauline is my first love. We broke up because Pauline and me are opposites. We are like terms and like terms repel, they do not attract. Both of us are musicians; we perform at shows some finish late. I wouldn't want that for a wife. I love and respect Pauline because she is a strong, independent and beautiful woman. I have now settled down and I am married (showing off his ring) to Amanda Enude. She lives here but because she is expecting my baby she has gone kunosungirwa kumusha kwake kuChipinge. She is a simple country girl who is a real African girl with a white skin. Wekumaruzeva chaiye ndowandinoda.

 Is it true that you have a beef with ExQ?

Baba Tray (ExQ) is my boy (hommie). There are people I will never throw away.

How many children do you have in Zimbabwe and abroad?

Sky is my first child and she is one year eight months. I am told of the existence of a Herbert, who is one year and four months old. He is named after my father you know and stays with his mother in South Africa. This is just speculation and I wonder if he is really my child because since he was born I have never seen him. Asi kana zvikawoneka kuti ndewangu handirambi. I intend to make a band filled with my children in 10 years' time. It has always been my dream to have a family like the Jackson family who were into music. There is also a boy named Rockford Josphat who is around and is only three months old and then the one I am expecting with Amanda whom I want to give a name that's like a surname like Josphat Josphat.

 Sei every time uchingoti masongs ako abiwa? Anobiwa sei evamwe asingabiwe?

I am a producer and I have a profession. Sometimes an artist can give an idea but fails to acknowledge it, Ndofefeterwa was mastered by Delani who is a good friend of mine but probably he gave Sunny and it later featured on his album. But I do not care anymore. Masongs aya ndeaMwari kubiwa kana kusabiwa I will always write another one. This industry is one with people with big knives waiting to cut other people's throats. It is survival of the fittest. The best survive.

Who is your source of inspiration?

God, my mother, Zimbabwe, Africa. I am very patriotic; my intentions are to make on 12 million people in my country rather than trying to do that outside like in South Africa where even the resident musicians are struggling.

How do you feel about you being mentioned in the song by Labash -'Kukonzeresa'?

Ko ndiri honzero ka! It's very flattering to have any man sing a song about you. I am thankful that I inspire a lot of people who write a lot of stuff about me.

Confirm that the baby who appears on your video Chidzoka is Sky your baby?

Yes it is Sky. The mother (Pauline) was there.

What advice would you give Sky if any guy breaks her heart?

Be strong like your mother (Pauline).

On the song Chidzoka were you singing for your former wife Pauline to come back?

 I was not singing for Pauline. I worked on that album way before we had broken up. The media blew my relationship with Pauline out of proportion. Pauline and I love each other. In as much as I am a public figure, the press, the world and my relatives need to stay the hell out of my life as well as Pauline's. That is my private life, People should stop giving advice because they don't know what really happened, Pauline and me talk all the time and we have never stopped talking. I have helped her produce some of her songs and we have worked together on some of Mafriq's songs.

Is it true that you wrote the song Ndokutevera by ExQ? 

No, ExQ wrote that song. It's Chucky who wrote that, he does not like urban grooves.

 Tell us about the feud with Nitready Studios?

There is no feud. Nitready and me we talk, tiri tight. Hazvina mari zvamafeud izvi.

What is your recipe to your well-polished videos, especially Chidzoka?

It is hard work, creativity and crew. Most importantly I offer my thanks to Bingo.

What is your comment that there is a dark side to urban grooves that is shown when they perform at shows? Do they live a wild and dirty life?

In this industry of entertainment a lot of what people see is make-believe. It is poli-tricks. At live shows topefomera vanhu vakadhakwa. They will be wild so we give them what they want. I am wild and it's nice. What do you expect, I went to a boys' school.

And in this interview, Roki is his other self

An hour with Rockford Josphat is like a day or even more. At the first instance he seems a rogue and appears spoilt, yet he is an intelligent young man. 

He takes your mind onto a psychological journey that leaves you hating him, but he has this charming ability that cannot be matched by many of his peers. When this reporter called Roki, he was first quizzed on his mission and given examples of the types of journalists he did not entertain, something that he later apologised for.

We met Roki at his house along Washington Avenue, Waterfalls, where he was relaxing with five friends. He stays with his new wife Melody “Chocolate” Musekiwa and their baby —this should be child number six for Roki, or at least. The house incorporates the studio where he has been doing his studio work and assisting other upcoming musicians. When we met he made sure he made it clear that our photographer knew he would receive a thorough hiding if he took any pictures.

“Chimbomirai kuita dzungu mudhara. Tinokuchayai mukangodaro. (Do not rush. We will beat you up if you do that),” he threatened. But he eventually opened up. “This is where I stay with my wife and child. Most of these youths hang around here doing music and other things that have to do with music, not street kids like what you guys report. “All along when I have been off the limelight this is where I have been. By the time I wake up there would be at least one artiste waiting for me so that we can start making music. That is my lifestyle.

“You know, I have come a long way and I have worked so hard on numerous projects with my friends but I have achieved nothing. That is why I decided to do my own thing now. Very soon you will be hearing bombshells from here.” In his speech he portrays a great degree of bitterness and he says it is because people do not appreciate the kind of person he is. He says even his friends forsake him after he would have done a lot for them.

Roki gave an example of a scenario where he was forcibly made to release his shareholding in a studio project that he had done with Edie “Nitredy” Dhliwayo. “Some guy just came and all of a sudden things changed and I had to sell my shares,” said Roki. Nitredy confirmed they had part ways with Roki but said the development was mainly because the young musician lacked discipline. But Roki believes people fail to understand him.

“I know sometimes I am insensitive and most people do not like that side of me but that is who I am. “Most of the people in this industry are double-faced so we have to be careful. You will even see one of them lying on my bed pretending to be my friend but as soon as they leave this place all that changes.” As confused and misdirected as he might appear, Roki or Baba Sky as he likes to be called is arguably one of the best artists to emerge from the urban grooves revolution.

He has written and produced a number of hits over the years and says he is soon going to release something even bigger. He also is bitter about the reluctance by various stakeholders in the music industry to embrace technological advancements. “CDs are damn expensive to make and they carry just a few tracks which are all going to be uploaded onto iTunes for free. You can imagine the huge sums of money we fork out to come up with these projects.

“I am working on creating a website where I can sell my music. If I can get US$0.10 for each download that’s better,” said Roki. He said he has lost faith in CDs and said he does not see reason for people to get into the streets with batons chasing after CD vendors who are just a small part of the problem.

“Downloading music onto a computer and uploading it onto iTunes and other sites for free is where the problem is. This is about syndicates of information technology experts and till we stop relying on CDs that cannot be encrypted we will remain poor.” - The Standard

Rute Mbangwa jazz' new face

I met Rute Mbangwa when I was writing for the Southern Times way back in 2004. She had just released an album and being a jazz beat, I considered her very brave. Jazz, I had learnt over the years, is not for the faint-hearted or those who are out to make a quick buck.

When an instructor with the Children’s Playing Arts Workshop picked on the short stout girl to lead in the opera, Christmas in Africa way back in 1994, little did he know that he was setting her on a career that would see the girl emerging as Zimbabwe’s own Mama Africa.
Nine years later, Rute Mbangwa who never had any interests in jazz and never been involved in any musical ventures during her childhood, is today Zimbabwe’s most promising young jazz artist.
“I have a powerful voice,” Rute said. “And besides being soulful, it soothes.”
Explaining how she became interested in jazz music, Rute who is just 19 innocently said: “It just came. I real do not know. I had never had anything to do with it. I did not know the like of Louis Armstrong before.”
Admittedly Rute’s venturing onto the music scene was an accident but a harmless one.
After the experience with Christmas in Africa, Rute was fortunate to meet her cousin, Rockford ‘Rocqui’ Josphat, one of Zimbabwe’s leading urban groove artists during one holiday.
At the time, Rocqui was a member of his school choir and was very much into music.
“I remember that we wrote love songs together and then practiced singing them as Acapella,” recalled Rute. In 2000, their friends who were pupils at a Harare girls’ school invited the duo to perform during the Miss Valentine at Queen Elizabeth School in Harare where they sang their compositions much to the pleasure of those who had attended the function.
In 2001, they went to participate at the Spotlight Talent Identification Show in Harare as a duo but when they met three other aspiring musicians, Ngoni Kambarami, and the duo of one Jimmy and Newell who made up the group Anther Tribe.
“Once at the show, we teamed up with these guys and sang as Anther Tribe. We did copyrights of a song called Danna and Mafaro that I had co-wrote with Jimmy,” Rute said.
They were voted the best Afro-jazz group and the best overall group. For their efforts, they received Z$25 000.
One of the judges during the talent shows the renowned township jazz musician, Tanga Wekwa Sando, fell in love with Rute’s powerful and soulful voice.
“Tanga asked me to join him as a vocalist and dancer.
Together we did the album Shungu from which came the hit song Paida Mwoyo,” explained Rute.
Because she lives on music, Rute had to hold solo shows with the backing of jazz-fusion groups such as Summer Breeze with which she appeared during the 2003 Summer Jazz festival held at the Zimbabwe’s jazz joint, Jazz 105.
“I had an opportunity of trying my music on the people during these shows and it worked.”
She also worked with groups such as the youthful Afrika Revenge when they recorded their blistering second album, Qaya Musik whose plug song is Wanga. 
“Besides recording, we did a lot of shows with the guys.”
There was also Fungai Malianga who is now playing in pubs in the United Kingdom. “I backed him n live shows.”
“I also had a stint with Betty Makaya. In fact, I wrote one song for her and we co-wrote another,” she revealed.
She was drifting from Tanga at this stage.
And she started looking for a band that would back her. Too Open was a group that she had met during shows and somehow, they just clicked.
“They play the type of music I like. And it was natural that I had to work with them,” Rute who launched her debut album, If Only My Heart Had a Voice, in Harare said.
The album is a brilliant product, which with favourable airplay could propel the teenage artist to unprecedented stardom.
“It’s not all that easy,” she confessed. “Sometimes I wish I had not ventured into this (music). The radio stations are not supportive of us who play jazz. And with such attitude, our music is dying.”
Besides unsupportive radio stations, Rute bemoaned the footloose nature of band members who leave to join other bands thereby disrupting progress.
“There is so much exploitation in the local music sector. If you wish to perform as a curtain raiser for an established group, you will be told that provided it’s for free, you can come,” she said adding that sometimes she finds it better to just keep her cool.
She also said that if she chose to perform for free, she would still pay her backing group as well as many other sundries.
“If you show that you are desperate, then you are easy prey,” she said innocently.
What makes things more difficult for Rute is that she is doing her own marketing and promotion and that needs a lot of money.
Whatever the case, the fact that she dared venture alone into a zone that other older women had feared to go it alone, must be enough encouragement for Rute.
In fact at 19, she has a whole world ahead of her and enough time to correct whatever has gone wrong today.

Below is a one-on-one she did in March 2011 with Ruth Butaumocho, Herald entertainment editor

Jazz music in Zimbabwe is still regarded as a genre for the mature and still remains an exclusive ‘boy's club, looking at the number of male musicians who have done extremely well in this sector. However, in the midst of all this, there are female artists who continue to make a mark in this sphere. Rute Mbangwa is one of the country's gifted jazz artistes who is not only a talented composer, but also possesses a powerful voice. Entertainment Editor Ruth Butaumocho (RB) had a chat with Rute (RM) on her career. RB: Can you tell us about yourself?RM: I am a 26-year-old single mother. I was born and bred in Harare, and I did both my primary and secondary education in Marlborough. RB: How did you venture into music?RM: I started when I was still very young, at the age of nine, which is when my talent for singing was discovered. Then I had joined Chipawo. Because of my ability to sing, I would get roles in music in most theatre acts. In 2001, I participated in a talent show that was organised by ZBC called "Spotlight". Our group, which included the likes of Sebede, Roki Josphat, Newel and Ngoni Kambarami, came first in the jazz category. It was at that event that I was spotted by Tanga (Wekwa Sando) and eventually got into jazz. In fact it was Tanga who nurtured my talent to be where I am today. Having realised my capabilities as a musician, I then released my first album called "If Only My Heart Had a Voice", in 2004. RB: That to me sounds like a passionate appeal to be heard. What was going on in your life at that time Rute? RM: Well, personally there was nothing going on in my life at that time, but I was reaching out to hundreds of women who had just got married and only to realise that their husbands were cheating on them. In fact, it was a way of sharing their pain and also encouraging them to be strong and look at life in a different perspective. RB: Being a female musician, do you think the landscape is conducive for women in arts?RM: The landscape is still far from being conducive for women artists because of a number of reasons and the majority of them are deeply entrenched in our socialisation. There is a lot of stereotyping in the arts, where female musicians are perceived to be women of loose morals, and go on stage specifically to hunt for men. You realise that female fans who attend shows with their husbands, also consider you as a threat when they see you on stage, dancing in a certain way which is part of the business anyway. But of course you cannot rule out that there is another segment of women in the arts sector, who use sex symbols to attract men, by either using lurid language or going on stage semi-naked. In all fairness, you can still have a good show, even when you are fully clothed on stage. I am calling out on women to preserve our dignity as female artists. RB: Do you feel as female artists you need some form of assistance, either from the Government or from other stakeholders?RM: Government should set up a cultural fund that should not only benefit women in the arts sector, but everyone who wants to kick-start his or her project in the arts. RB: At one time you were touted as the next Miriam Makeba, but your fans have noticed that you have not been consistent in music. What has been keeping you busy?RM: I just felt that I needed a bit of sprucing up. I needed to edify myself and to improve my brand as Rute Mbangwa. So I went back to school and joined the Zimbabwe College of Music, where I was studying Ethnomusicology for two years. I have also been taking private voice lessons to improve on my brand. I noticed that when I got into music, I didn't brand myself properly and I needed to do that. I just wanted to tell my fans that when I got into jazz, it wasn't my choice, but I guess my fans took me there, because they constantly referred to me as a jazz musician. RB: Now that you are back, whither my sista?RM: I am working on my third album to be released soon. I will also be holding shows not only in Harare but also throughout the country. RB: What has been some of the highlights of your career?TM: I had an opportunity to attend the Grahamston Festival a few years ago, and I also managed to represent the country in Algeria at the Pan African Festival, courtesy of the Ministry of Education. Namibia is one of the places that I have carried forward in my artworks. RB: You are a cousin of Roki; does his controversial life bother you?RM: That is the way he is. People are different. RB: Are you in a relationship?RM: Yes I am. Very much attached. We are still getting to know each other, and we have big plans.

Betty Makaya sang about love - lots of it and loss of it



Betty and Jamal



If ever urban grooves will have heroes and heroins, Betty Makaya, one of the pioneers will be one of them. Unlike the recent outbursts inaptly referred to as urban grooves, Betty's duets and solos are about love - lots of it and loss of it - as well that elusive paradise every hopeful lover longs for.



Betty Makaya is one musician who is forever on a rebound. Every time she goes underground and is sought out by the media, she will say I am working on an album and will be back.

In 2007, she was trekked down to Victoria Falls just before giving birth and she revealed that she had written quite a number of songs and would be back on the scene soon.

That came back, if it ever happened, did not cause quitea stir. Of course, there have been some collaborations after that but not as big as the Kurwizi collabo with Jamal.

I believe she made her time and history as the first urban groove female musician of note. There is no doubt that her music still stands as pioneering urban grooves classics.

Although a great many others came when urban grooves is well defined, but Betty’s contribution will stand as fine examples of how good and inspiring urban grooves can be.

While the majority of urban grooves artists thrive on controversy, Betty never sought out such fame but made clean music which any parent can nod whenever their kids play it.

It was not fluke that Betty bagged the Zimbabwe Music Awards best urban grooves’ female (2004) and the best overall female musician (2004).

But that was a long time ago and I recall meeting Betty at the Harare International Conference Centre at the Sheraton Hotel on the night of the awards.

In a pre-awards announcement on the day, Betty made the audience gasp when she performed Kurwizi alongside Jamal.  Kurwizi is off Jamal’s album Ghetto.

Her album Ndichange Ndiripo cannot be squared up to any other because it defined urban grooves then. Betty came when there was no vulgarity in urban grooves. Singing about love – lots of it and loss of it – Betty had duets with Alexio Kawara and Langton Deo on Ngemheni.

Below she gives tit-bits of her life to Zimvibes

  
  Zimvibes: who inspired you to sing? Betty: i was inspired by a lot of people and things- firstly- i was inspired by my mother she meant a lot to me- god rest her soul, i was also inspired by people around me and the world as a whole.
  Zimvibes: Which artists have you done collaborations with?Betty: I have done collaborations with a lot of artistes which started on Kurwizi with Jamal on his debut album Ghetto which was released almost the same time with mine. Alexio Kawara on my latest album, i also collabod with Langton Deo on the song Ngemheni and many more.
   Zimvibes: Every big name has up and downs, what can u say was the greatest peak in your career?Betty: people believe my greatest peak was on my debut album but i think that is because that is when i started singing and people loved my music- 1st impression
is everything you know. but i believe my second album is even better and i felt I had matured musically.
   Zimvibes: Which song would you say on your albums is your favorite?Betty: I love the song 'Usipo' because it put me on the map- if u know what I mean, 'For You' wasn't too bad.
   Zimvibes: Can u tell us a brief breakdown of all your songs that were on the charts and summary of their Nominations and to date how many albums do you hold? Betty: Basically all the songs from my 1st album entered the Power FM charts and that album earned me The 2004 Zimbabwe Music Awards (ZIMA) Best Urban Grooves
Female and Best Overall Female Musician
 Zimvibes: Do u have any videos?Betty: I have a video for the song Usipo which i did when i was still at T.M.C, I also featured on Jamal's video for Kurwizi but i want to do a DVD album for all my songs very soon.
Zimvibes: Are there Any projects you working on at present, you would love to share to your fans? Betty: a whole new level in Zimbabwean music coming this year- its a promise. I will not talk much about it for i will spoil it for you- just wait and see.
 Zimvibes: Any Inspirational Words to some people who were influenced with you and other Upcoming Singers? Betty: keep moving forward, no matter how hard it may seem, just keep going and I guarantee you that you will make it, at least it worked for me.

Discography:

Ndichange ndiripo Album
Betty Self Titled Album

Handisati ndapera - Soma always says

Easily taken by emotions, Soma at Tongai Moyo's funeral

Somandla Ndebele, the fourth most recorded Zimbabwean artist with 20 albums in a career that spans 20 years, is a very sensitive, soft and emotional character - more of a grown-up baby who feels pain more than others. One such picture is when he broke down at Tongai Moyo’s funeral. It’s understandable because Tongai Moyo was very close to Soma.

There is a shop in Guruve’s Mudhindo area named after Somandla Ndebele’s album Zvamauya Zvanaka. It’s a small grocery shop which has a counter that serves as a bar in one corner.

While such a name did not surprise me because bars and shops in remote areas ply on such names, I later learnt that Soma was a regular in the area.

I ran into Soma in Harare around 2007 and I asked him about the shop’s name, its owner and that he was a regular there. He laughed it off, dismissing it as just of those rumours.

But I did not tell Soma that people in Guruve where the shop is say he had helped in building the shop. Even the woman laughed it off when I asked her about it.

The last time I visited the area, the shop was closed and the cheerful lady-owner was said to have left for South Africa.

Fortunately, Soma was not angry about the shop’s name and my prying just like he was angry when I did a ‘negative’ review of his album, Chidamoyo, in 2006.

The review came out the same day the album hit the street and Soma came breathing smoke. My editor had that same morning in the diary meeting, said we should write more such reviews quite often rather than describing every album that comes as a scorcher.

Below is part of my review: It seems as if most Sungura artistes have reached a dead end in creativity.

A number of albums released since last year have shown that most Sungura musicians have become bankrupt lyrically and instrumentally. Somandla Ndebele's latest album, Chidamoyo that goes on the market today is just one good example of how bad and sloppy Sungura artistes have become. In Chidamoyo, Somandla has neither the lyrical nor instrumental stamina to stand the market and inspire people into buying the seven-track album. Bitterness and a penchant for revenge have remained the message in …

Rumour swirled later that day about why I had written a negative review – apparently, Soma had refused to pay me! I was summoned to the editor’s office to explain.

For quite some time, Soma never liked me until Alick Macheso came up with the murondatsimba vibe where both Soma and the late Tongai Moyo topped the list then the Muzarabani-based Njerama Boys.

Soma came under fire because Spencer Khumulani who had left Macheso joined the Denda Brothers, the band that backs Soma.

Macheso blamed Spencer of taking his sungura beats to Soma and then Tongai.

The height of the murondatsimba saga was pretty ugly for the music industry. It divided artists and for the first time, Zimbabwean music sector was faced with a possible violent backlash from fans and musicians themselves. Even the media too was not spared. Either one belonged to the Macheso or Tongai Moyo side.

It was also a very interesting time which made me find out more about Njerama for example and Tongai Moyo as well as Soma.

I recall interviewing Tongai Moyo from his Kwekwe base. It was my first time to talk to him. I also sought out Soma and then Njerama. That cast me as an anti-Macheso journalist. I then received threatening calls. Njerama even had their Aquatic show disrupted and their posters torn off. It was after this when Soma softened to me.

Soma is a very soft and emotional character. Rather a sensitive one. More of a grown-up baby who feels pain more than others. One such picture is when he broke down at Tongai Moyo’s funeral. It’s understandable because Tongai Moyo was very close to Soma. They had a duet and the Macheso’s accusations of Murondatsimba welded them together.

The former Dzivaresekwa High School pupil, Soma came through from school choirs when he was a young. In 1989, when he was in high school, he released his debut single, Mandiomesera with flip side Chidochemoyo. The single found its way into the then Radio 2 Top 20.

There were three other singles before he started working on albums in 1992. More than 20 years later, Soma has 20 albums making him the second most recorded artist apart from Oliver Mtukudzi, Thomas Mapfumo and Deverengwena Jazz Band.

Soma is not as active as other musicians. This made the media to refer to him as a spent force. But in the interview below where he talks to Ruth Butaumocho in 2010, he says handisati ndapera.

Like any other musician, Somandla had his highs and lows. For some time the musician has been keeping a low profile, and even holding shows in rural and mining areas, in a development that has resulted in some people calling him a spent force. However, the singer believes that he still will continue to inspire future generations through music.

RB: Who is Somandla Ndebele?

SN: I was born many years ago and did both my primary and secondary education in Dzivaresekwa and Zhombe.

RB: When did you kick start your musical career?

SN: I developed a passion for music while I was in secondary school at Sidakeni High School in Zhombe.

Then I was in the school choir and I remember very well that during that time, the school won the first prize in the provincial choral competitions.

When I came to Harare, the passion further developed and I started composing my own songs.

It was during that time that I met the late John Chibadura in 1986. He inspired me to become a full time musician and he even gave me a guitar that I used to record my first single in 1998 called Mandiomesera with ZMC.

RB: During your stint with the late John Chibadura, what lessons did you learn?

SN: The late musician taught me to persevere in any situation and he often said practice and rehearsal were vital if one wanted to produce a good quality product.

One may have a good musical product, but is then "killed" during recording because of inadequate rehearsal by the musician. Over the years, I have learnt that it is quite important to practice well before going to the studio to record.

RB: What have been your lows and highs in the music industry?

SN: It has always been difficult to get musical instruments to use for live shows, but my breakthrough came in 1998 when my album "Tave Parumano" fetched better sales on the market.

I was able to buy my first car and some instruments. The heavens smiled on me and I am happy to say that since then, I have never looked back.

Three of the albums that I released went platinum and two gold discs from Gramma, which I believe is a reflection of the quality of work I have been producing.

RB: What is your relationship with Tongai Moyo and are you still as close as before?

SN: He is a friend of mine, a relationship that started way back.

During 1998/9 we used to hold musical shows together, a development that resulted in the release of a joint album called "Mwoyo Wekurera", which contains the hit song "Masimba aMwari".

Because we have so much in common, we ended up doing yet another duet, "Chirangano".

Yes we are still friends. However due to commitments one each part, we have not been able to hold as many shows as we should together, let alone do a project.

But I am optimistic that one day we will be able to find time and possibly do another musical project together.

RB: For some time now you have been keeping a low profile, and even holding shows in rural and mining areas, in a development that has resulted in some people calling you a spent force?

SN: If you look at musicians you will find that everyone is everywhere these days when it comes to shows.

As a musician, I am trying to reach out to as many people as possible and I am going to areas, which we have never penetrated before. This is the trend these days. We are merely going to places where the money is.

There are several musicians whom I will not mention by name who are holding shows in high density areas, something that they never used to do.

Handisati ndapera (I am not yet finished), I am just responding to market demands.

RB: How has your community responded to your music and have you been able to give back to your community, in whatever way?

SN: People in Dzivaresekwa, where I live, are very happy with my product and I am extremely humbled with their support. Over the years, I have been participating in the Dzivaresekwa Bus Disaster musical gala, to assist families of those who perished in the tragic accident.

I also assisted Sidakeni Primary in Zhombe by buying computers and sinking boreholes at the school, an initiative that I did with my late father, Mr Naison Ndebele.

RB: Why are you nicknamed Mafia?

SN: It is just a nickname that I got while I was in high school and I am not sure why.

RB: Somandla, what happened to your arm?

SN: I was born like that and I have learnt to live with it. I can even drive a manual car and do all other jobs that need both hands.

RB: Family?

SN: I am happily married and have been blessed with five children, four boys and one girl.

Jinxed Chinxed - the guerrilla

I have met Cde Chinx twice. The first time was in 2003 when I was writing for the Standard. The first time was in my office down-town Harare.

The second was when he came to Herald offices to complain and ‘put the record straight’ after reports that his house illegally built in some undesignated part of the city was demolished while he begged. There were also reports that he was beaten when he tried to stop the demolition crew. He said all the reports were false.

I have also heard about him a lot. The latest were reports that he had resorted to illegal fishing in Lake Chivero.

The polygamist who fought in the liberation war claims he is yet to benefit and that only those who ‘refused to go to war’ benefited.

Below is an excerpt of the interview he did with Godwin Muzari

‘Things are not working well but I know that is the way it is.
‘You cannot expect things to go the way you like all the time but I believe my time shall come.

‘I tell you, by 2015, I will be singing a better song,’ said Chingaira.

‘I have a farm but there is no electricity to do serious projects.
‘I am looking forward to starting poultry and piggery projects as soon as we have electricity.

‘We are also trying to set up irrigation facilities to facilitate the opening of more projects. At the moment we are just farming on a small scale and this new fishing project promises to be a lucrative venture. ‘I think it will take us somewhere.’

Cde Chinx is one of many musicians whose dip in fortune are mistaken for their support for Zanu-PF yet when most of the musicians accepted the invitation to sing for Zanu-PF, they were already on the down-slide.

Take Simon Chimbetu, for example, his fortunes had started waning when he released a remix of his old songs. Andy Brown too had his career dead when Chioniso Maraire and the late Mendy Chibindi left his group. And Cde Chinx never had a real musical foothold after the death of Ilanga.

In a way, the Hondo Yeminda campaign put some of the artists back on the radar.

But Cde Chinx, Hondo Yeminda was a continuation of the struggle he had started while in Mozambique when he teamed up with Cde Max Mapfumo who turns up for the Jupiter Kings to inspire the cadres. After the war, Cde Chinx was part of the Zanu-PF choir that had the likes of the late Ketai Muchawaya, Knowledge Kunenyati and Marko Sibanda.

Growing up, Cde Chinx never conceived of himself rising to become one of the finest musicians in Zimbabwe for he wanted to pursue an academic career.

Born Dickson Chingaira in Rusape, Cde Chinx’ interest in music started at Chigora Primary School.

On completion of secondary school Cde Chinx got a place to study medicine overseas but he failed to get travel documents and the whole plan failed to materialize. He had always wanted to be a doctor thus he was frustrated when his father who was a carpenter could not raise enough money to send him to a school that could allow him to pursue his dreams.
He then took up a job in 1974 with an engineering plant in Msasa, Harare earning $7 a week but was very unhappy there as his white South African superiors kept calling him names such as terrorist, kaffir, and gook.  This constant abuse forced him to leave his job without giving a proper notice and in 1976, Chinx left for Chimoio in Mozambique to join the liberation struggle.
When he arrived at Chimoio, one of the commanders Cde Mhere Yarira remarked that their group was jovial and as such they should form a choir. The choir that was formed was called Takawira in honour of the late nationalist Leopold Takawira. Takawira choir became just but one of many other choirs which boosted freedom fighters’ morale during the war. Cde Chinx had joined the guerrillas with the sole aim of liberating Zimbabwe but found himself leader of the then Takawira choir which in no time changed its name to Zanla Choir, which acted as a morale booster for the fighting cadres when Cde Mhere Yaraira who led the group was transferred.
Choir that was an amalgamation of all the choirs which had been active during the war. The Africans had but only won political power otherwise economic power was still in the hands of white Rhodesians as was to be reflected but the turn of events in Chinx music career. Choirs were regarded too protest and radical by recording studios that were there at the time and this forced Chinx to change from the genre he was into to more contemporary music. He then went on together with Keith Farquarson to form the group Barrel of Peace. Teaming up with Bennie Miller they recorded hit songs such as Ngorimba, Zvikomborero and Marching.
Latter on they joined Ilanga, a group that was formed in 1986 by musicians who had ganged up together from their various groups. After a short stint with Ilanga he moved on to team up with Mazana Movement Band and then later with Mazana Movement Black Spirits.

 This led Chinx to form his own backing group in order to promote his music commercially. It was not until 1989 that the Early Hits album of Comrade Chinx was released. His most outstanding hit, Roger Confirm stayed on Radio 3’s Hitpick charts for 25 weeks in 1989 and early 1990. 
Apart from being an innovative musician, Cde Chinx is a great songwriter whose songs are timeless classics. Vanhu Vose VemuAfrica for example captures the essence of humanity and unity in the face of injustice and unfairness.  Every year during the Heroes and Africa Day holidays, all radio stations in Zimbabwe play Comrade Chinx’ liberation songs. His song, Vanhu Vese VemuAfrica was voted the Silver Jubilee Award for the Most Inspiring Song of the Liberation War during the 2005 National Arts Merit Awards.
Getting awards is something Cde Chinx has learnt to live with; in the early 90s he also got a double from MNET Africa for the movie Flame in which he played a major role and had his song, Maruza Vapambe Pfumi which then won the best soundtrack. All this shows that Cde Chinx is a force to reckon with in the Zimbabwean film industry.
Cde Chinx’ role is not only confined to the war of liberation where as a choir master, he soothed sore hearts and comforted bruised minds but even after independence when he used his skills to further talents. He has proved to be dynamic and his ability to move with time as well as his experiment with sound as in his genre called Ngorimba has indeed placed him at a level parallel to none in the Zimbabwean Arts.

Yet today, this man who, although did not go out to the war-front – did as much through song. Today, Cde Chinx is the laughing stock of both musicians who took part in the Hondo Yeminda campaigns and the war of liberation.

Devera Ngwena exploited & cast out

A number of things happened in 1979 musically.

Job Mashanda was riding high with his Amai Mandigona super hit which he did with the backing of the Muddy Face Band. Oliver Mtukudzi had Ndiri Bofu doing the rounds.

At that time too, two local rhumba groups emerged – Devera Ngwena Jazz Band fronted by Jonah Moyo and Mashura and the Okavango Boys.

While the Devera Ngwena beat was calm, controlled and penetrating as shown in their debut single Devera Ngwena Zhimozhi, the Okavango Boys’ beat in Andrea was fast and danceable.

It must be pointed out that the Devera Ngwena and Okavango Boys’ music were the first home-grown rhumba-like beat. The OK Success had bent over 360° from producing central African rhumba to afro-pop in their songs such as

Jonah Moyo who formed and led the Devera Ngwena describes his music as Tsavatsava. But those who know music will describe the music as a crossover from cha cha cha to some mild form of east African rhumba. Some would call Devera Ngwena’s music sungura. But sungura is dominated by the bassline yet Devera Ngwena’s music has the lead guitar defining it.

Today, however, it has become a tendency to lump together songs which people find difficult to define as sungura.

But I had the opportunity to meet Jonah in 2006 at Jazz 105. His brother Aaron Chiwundura Moyo who is my friend linked me up with the great musician.

Jonah had just visited from South Africa where he has been based since his star started to dim a few after the split of the band over a disagreement on leaving the mine in 1985.

Yet Jonah’s first steps into music were not so much for money or fame but girls. Working and staying on a farm in Kwekwe, Jonah says he started out playing the banjo to win over girls’ hearts. When he left Horseshoe Farm for Kwekwe, Jonah realised that he could indeed make music not for the girls but for the nation.

Later, he found employment at Gaths Mine and played in the mine’s band called the Gaths Mine Welfare Band in 1978. Just like the Hallelujah Chicken Runn Band, Gaths Mine Welfare Band was for entertaining mine workers. Most of the band members also worked at the mine and only played during certain times. Jonah was a clerk.

The mines owned the instruments and took all the proceeds from shows or recordings if there were any.

The Gaths Mine Welfare Band had as its members: Innocent Bitu who had had a stint with the Jairos Jiri Band; Biggie Phiri and Robson Banda who later left in the early stages of the Devera Ngwena to form the Black Eagles. Jabulani Bitu came in for Banda.

In the case of Jonah Moyo and the Gaths Mine Welfare Band, they were not supposed to record or play outside the mine compound until one night when the group played before more than 500 people. This was more than enough evidence to the mine owners that the group could make money for them if they allowed it to play outside and record.

Even before that, Jonah had secretly approached Teal Records (now Gramma) for recording but it was after the relaxation of the contract which saw the group taking up the name Devera Ngwena Jazz Band in 1979.

This was when the group unleashed Devera Ngwena Zhimozhi which tipped the scales at independence. There was not much to the lyrics but a celebration of music and life. Devera Ngwena Zhimozhi/ Chimbo chinofadza vakuru nevadiki/ Devera ngwena Zhimozhi. But somehow the beat caught up with people and set the tone for all their happy-go-luck type of music. And from 1979 till 1986/7, the group would release about two albums per year and sell in hundred thousand. They came in form of Anoshaina Nemabhebhi, Nhai Gremma, Taxi Driver and Wangu P. But it was the group’s Solo naMutsai which showed how good and different they were from the rest.

The group usually sold in the excess of 50 000 copies and their song Ruva Remoyo Wangu hit through the ceiling – most probably the first ever after independence to sell more than 120 000 units.

But years of playing and selling had not translated into anything meaningful for the band members. The mine still took all the proceeds and paid the players wages. Jonah wanted out but some members of the band opted to stay.

This disagreement led to a split of the band in three – Jonah went with the name Devera Ngwena; the Bitu brothers Innocent and Jabulani - and Jonisai Machinya formed Zhimozhi Jazz Band while two other members formed Petro naJohane.

Jonah roped up new members Chengetai Kandimi, Patrick Kabanda, Christopher Ncube, Kudzi Mashereni and Mashi Mashereni and set his base in Limpopo, South Africa.

This was the outfit which toured England, Scotland, and Holland in 1987 playing at Glastonbury Festival in Holland.