By Prince Mushawevato
The latest Peter Moyo production “Mopao Mokonzi”, exudes maturity and his legendary father the late Tongai “Dhewa” Moyo must now be resting easy. “Mopao Mokonzi” seems to have really arrived.
The sungura giant had to pluck his eldest son from football and bequeath him a band the boy had no idea how to lead. Having not had the mentorship of his talented father, the lad initially struggled, surviving more on sympathy than anything else. But from his latest project it seems he has turned the corner and is firmly on track. Progression is all that is needed in every form of art and Peter aka “Young Igwe” is doing just that. But wait a minute! Tongai might have briefly frowned from the world yonder last week when the Young Igwe failed to acknowledge borrowing one or two verses from some of his unreleased material. In an interview with this writer, Peter swore he was the brains behind everything: “All of the stuff on the seven-track album are my personal compositions.”
This is, however, not true. The chorus on track number two “Musara Pavana”, which goes “Nhaimi varume, mamuona here? Igwe wemucheno, muridzi wenyaya, weganda remvura, murozvi mukuru…” was first introduced to the public by Tongai Moyo in 2011 just before passing on. It’s the same case with the “sisi mandiregerera”, chant at the close of track number four titled “Baba naMai”. This chorus made headlines as it drove some fans into tears during Dhewa’s live gigs at the height of his battle with cancer.
It is one thing to deny copying/borrowing material from another artiste (local or foreign) but it is “treasonous” when one fails to acknowledge his own father, founder of the inherited brand. A simple acknowledgment would not in any way demerit the strides Peter has made thus far! In fact, honesty will help boost his ratings. As someone who had no keen interest in music particularly the sungura genre, he might genuinely have not known of the existence of such lyrics. Perhaps the compositions were passed on to him by the senior band members that worked with the late veteran, without revealing the origins.
That aside, Peter’s once irritating vocals, though not yet perfect, are now in sync. The musician, appears to have found a winning formula to his shortcomings, of course, with the help of veteran producer Jabulani Ndlovu of Trutone Studios. “It has been a difficult journey but I think I’m getting there. Jabulani has been panel beating me day and night, and if the response from fans is anything to go by, he is doing a great job,” said the Young Igwe, adding, “The positive and negative feedback I get is important as it helps me further my game.”
Compositions on “Mopao Mokonzi” easily give a clear exposé. Peter sounds good on fast-paced tempo songs. His intonation syncs well with a medium paced beat that has a Jiti slant like the one used on “Kurera Haisinyore” and “Domestic Violence” on the previous offering “Mabasa aMwari”. It is when he tries to do laid back vocals on a slow-tempo that one notices the artiste is putting too much effort as exuded in the opening lines of the first track “Mweya Mutsvene”.
He tends to strain in the process. This religious song bemoans individuals that are in the habit of celebrating other people’s misery. The temptation or rather the catch for many when dealing with the young Igwe’s work is to focus mostly on his vocals. His previous two albums “Mushonga Mukuru” and “Mabasa aMwari” had superb instrument arrangements probably even better than the latest album. However, on both occasions the Young Igwe failed to convincingly rise to the occasion. To put it blunt, his dissonance turned away fans and potential fans alike.
The third effort compellingly rectifies that. From the opening to the very last song, one is kept foot-thumping with Evidence Tarabuka (Baba Gari), Spencer Khumbulani and Guyson Sixpence’s guitar and drum wizardry. Khumbulani who played the lead and bass guitar on the project gave a strong-willed input particularly on the track “Musara Pavana”, “Muridzi Weupenyu” and “Kurera Haisinyore” considering the varying roles he had.
However, the instrument panache could have been taken to another level had Peter enlisted the services of an independent lead guitarist for recording. Having Khumbulani play both roles strained the instrumentalist and subsequently his inspiration. Gift “Shiga Shiga” Katulika’s periodic comic and stimulating interventions are well placed. He, like back in the old days with his former master, Tongai, skilfully interjects displaying a profound understanding of the sungura-rhumba timbre.
Furthermore, the easy flowing but intriguing album is lyrically poignant. Save for one or two incidences he “borrows” inspiration from elsewhere, Peter appears not to have any challenges in coming up with thought-provoking songs. His message is broad and addresses a wide spectrum of issues.
Other tracks that make up the album include “Kurera Haisinyore” (mix) featuring Andy Muridzo and a love song “Mudiwa Wangu”. The last track is a complete surprise. Besides the unusual tempo, the song also features one of the country’s top goalkeepers and Peter’s close buddy Edmore “Zikeeper” Sibanda and gospel musician Trymore Bande. I am not sure if this was Zikeeper’s first time in the studio but indications are that he might have a future in the drum, guitar and microphone industry. The Sunday Mail
