Musician Clive ‘Mono’ Mukundu released a revised 226 pages edition of his 2017 book: “Following the Melody” in 2024.
The book was edited by Memory Chirere and has a preface by leading musicologist Joyce Jenje Makwenda and was printed by Media Essentials in Zimbabwe. It is also available in electronic format.
On the theme “Following the Melody” Mukundu said: “I initially considered a different name as a working title. However, my first editor, Mr Philip Chidavaenzi, believed it did not adequately represent the book’s context, thus he named it “Following The Melody.”
“The main difference is that the story in the first edition ended earlier. The second edition now includes my story from where the first edition ended until 2024.
“As you are aware, some autobiographies are regularly updated as long as the author and subject are still alive.”
“I cannot single out a single event as a highlight; all of my life’s chapters are equally important.”
Mukundu added details about his visit to Jamaica which included a visit to Bob Marley’s museum and a seminar with Shaggy, Wyclef Jean and other leading Jamaican musicians especially in the last 25 years.
I felt the earlier biographical sections were more relatable with excellent story telling. I got permission to include details and excerpts below.
In the later parts of the book I felt Mukundu is evolving into an academic and a technocrat who brings a lot to the table while being hands-on, in itself very rare. Some have had the added responsibility of training a graduate to do the actual work.
Mukundu replied: “I did not change anything in the earlier sections except to correct some typos but you may be correct about the academic observation because the new edition was written after I finished my first degree.
“The degree process had a significant impact on the way I write because Midlands State University is very thorough with academic writing.”
Mukundu traces his own life story from his birth in Rusape in 1970. He later attends schools in Rusape, Harare, Masvingo, Mutare and even Gutu as his life had twists and turns including the divorce of his parents and then being looked after by his attentive single mum.
He says: “I attended St. Columbus Primary School in Rusape for my Grade One. Uncle Leonard Chipeperengo taught me Maths and other subjects before I even started school. When I eventually got to school, I was ahead of my fellow pupils. I used to be top of my class.”
In Masvingo Mukundu almost died in an “incident in which I accidentally fell into the pool. My friend Ray saved me from drowning after I lost my ability to swim as a result of the shock.”
Mukundu then had to live through the divorce of his parents which resulted in a succession of school transfers. His narrative is captivating in the first parts of the book.
He says: “I clearly recall one occasion when I climbed on top of the desk and began dancing to entertain my classmates. The teacher burst into the classroom like an enraged tornado. He gave the command for me to get down as everyone froze.
“Who is the Class Monitor?” he snapped, looking at my classmates.
“It’s him,” someone said, pointing at me. I was the Class Monitor. I was supposed to make sure there was order in that room. Luckily, I was not punished in the end.”
In the preface, Zimbabwe’s most reliable, in depth musicologist, Ms Jenje Makwenda said:
“I have realised that societies, especially the African community, have a challenge of sweeping things under the carpet and presenting a spotless but false picture about prominent people’s personal lives yet mankind is not immune to mistakes.”
Touching on Mukundu’s last man standing status after the demise of his earliest band members and peers who are part of the cast Makwenda says: ‘“Following the melody” was not a walk in the park. But despite the pain, uncertainty and all that Mono went through, he has made it on the music scene.”
“His character has made him an interesting personality, astute businessman, entrepreneur, musician and producer. He advises on how musicians can brand themselves through values such as reliability, time keeping, knowing one’s stuff, having a good attitude, having one’s own tools, personal hygiene, demanding one’s dues and the need for effective communication.”
She explained: “While he was playing for Oliver Mtukudzi’s Black Spirits, he invested in studio equipment instead of living the extravagant life often associated with musicians. Today he is the proud owner of Monolio Studios.”
He narrates his developing composing abilities in his unusual settings: “In 1988, I moved back to Harare and was enrolled at Mufakose 3 High School. I would walk all the way from home in Kuwadzana to the school in Mufakose. I preferred to walk the long distance on my own so that I could have the opportunity to compose and polish my songs.”
Mukundu’s modest circumstances resemble the early single parent status of Paul McCartney of the Beatles, another multi-instrumentalist and composer and the limits it practically imposed on his social life.
Mukundu writes: “My financial circumstances were also a cause for concern. Having love affairs would mean that I would have to get some fine clothes to wear during dates.
“I would also not be able to buy my girl any gifts since I was poor. But despite being the worst- dressed, shabby student at school, I was a hit with a number of girls.”
Deciding to be a musician Mukundu bought instruments with savings in his teens. He walked long distances to learn guitar chords.
He says: “My dream of being a lead vocalist, however, suffered a heavy blow after our first audition. I was very discouraged and hurt when the producers said I was not a good singer.”
Mukundu says: “I have had a fascination for mastering in-depth guitar theory ever since I first began learning to play a decent guitar in 1988. I never had much respect for guitarists who only knew how to play the instrument and had no idea what the chords they were using were called.
“After learning a few things about the guitar, I heard of a certain bass player from Mufakose who was now based in Kuwadzana. He was called Patrick Matalala but was better known as Ambuji. He lived next door to Jealous, whose instrument I had borrowed when I first began to learn how to play the guitar.”
“I tracked him down and introduced myself before explaining why I was looking for him. He was very helpful and started giving me lessons and taught me chord names.
“He also gave me chord charts that had guitar diagrams. That was my first guitar theory lesson. During the following months, I visited him for more books and chord charts.”
Mono’s Stressed Composer theory after parents’ divorce
Mono wrote: “I was upset and got stressed up when my parents divorced in 1983. It was difficult to witness my mother’s struggles which were brought on by divorce. My mother’s sister, Mrs. Goto, offered us lodgings at her spacious Westwood home, which she had converted in to a flat. At the age of 13 I used to walk from Westwood to Kambuzuma for school. It was around this period that I truly realised my composing abilities.”
“Because of this, I don’t think anyone can create as good a song as a “stressed” composer. Prior to their breakthrough, it seems that musicians are frequently at the height of their creativity during difficult circumstances.
“Possibly as a result, the majority of the best artistes in the world come from underprivileged origins.
“Since it seems to me that once things start to fall into place, a significant portion of inspiration is lost, I frequently suggest to musicians that they write as many songs as they can before they be- come famous.”
Failed auditions in 1989 presented a obstacle. Mukundu wrote: “Gramma Records housed the only studio in the country. Failing their auditions meant no hope of ever hearing yourself on the radio. We attended these auditions over ten times and we failed.”
The would-be-lead-singer puts in the miles
Mono wrote: “The producers granted us two weeks of practice time in their practice room at the Southerton studios because they said we weren’t accustomed to playing electric guitars. I would skip the final two classes because I was still enrolled in school and walk to Southerton.
“We would then take a walk home after practice. We were given the opportunity to try out again after the two weeks of practice. We had a vocalist in the band since I was informed that my voice wasn’t suitable for lead vocals.
“He didn’t show up for the audition and I was obliged to perform the vocals again, and the audition was definitely a failure. That was the final audition we had, and the other members of the band were so dejected that they broke out of the band.”
‘One-take’ Mono develops into a clean player
“I recall that some of the producers were really unpleasant when they shooed us out, but I made note of every adjustment they made. Later, I noticed that people ceased criticizing my playing as I went for auditions and recordings.
“They began to compliment me every time I played in the studio, and they were all really positive. My guitar playing was described as clear and distinctive on several occasions.
“It was because after the auditions, I considered everything the producers said. A few of the producers even assigned me some session work.”
On dealing with rejection Mukundu wrote: “In most cases, by the time an artiste is finally embraced by the fans, they would have gone through a lot of rejection both by music fans and other stakeholders in the industry.”
Mukundu’s other book “Poor and Famous” is a technical manual particularly on the studio process and the music industry and examples of musicians he has met and interacted with and others he studied.
“Following the Melody” helps explain one of the most complex, organised, meticulous, innovative and influential characters in Zimbabwe who can also be misunderstood for some of his strong views.
Where many musicians and artists and thought leaders left a maze of layered vocals, lyrics, rhythms and percussions as their only musical legacy, Mukundu gives the world 3 books so far that capture his character development, experiences, memories, hurts, achievements, highs, lows and shares his philosophies; in itself a very unusual step.
The world has access to the views and experiences of The Beatles, Michael Jackson, Quincy Jones and other Western musicians.
Zimbabwean stories have been told with less empathy by others rendering it a country with little context. There is great music by Bhundu boys, Four brothers, Paul Mpofu whose Murambinda is experiencing an second life, James Chimombe and many others.
Generations to come will have to sometimes rely on social media to understand the men and women behind the music. Tuku offered the occasional deep insights, especially on tour. Mukundu has gone a step further and offered whole books.
