Published by the government of Zimbabwe
Richmore Tera
2 April 2008
Harare — Anga Ari Pano, the fifth album from ex-Chazezesa Challengers band member, Leeroy Lunga, is striking in many ways.
Its title, in many ways, hints at the late Smoko Music founder Fanuel "System" Tazvida - whose style and music heritage Kamusena is striving hard to maintain these days.
Secondly, it is a litmus test for Lunga: Will he be able to steer Boys DzeSmoko, the tag he recently adopted for his band since discarding Boys DzeSena two months ago? It is because of that name that relations between him and Isaac Tazvida - System's young brother - have soured over the years.
But feuds aside, Anga Ari Pano marks a renewal of the original smoko beat, commitment and maturity on Kamusena's part. Also, the album is remarkable in its involvement of a brass section that gives it a thrilling and exhilarating appeal on the listener's ear. The brass is quite evident on the track Chigutiro, which goes the Mulemena Boys way in terms of instrumentation. Although the track is a simple folk song commonly sung by people during parties, it is the unique and novel way in which it was renditioned that makes the listener pause and think. It calls on people to cultivate a spirit of oneness, unity of purpose and commonality by coming to one's aid during trying times.
Usatengese Rudo is a love track in which a man is not only admiring the beauty of his loved one but also admonishes her to steer clear of infidelity that can rip apart their affair. "Kana nzara yarova dhiya tengesa hembe. Ukatengesa rudo ungandigumbura," sings Lunga in the song steeped in the original smoko beat. Kobili Patsogolo -- sung in Shona, Portuguese and Nyungwe - and that has become a favourite of many fans during Lunga's live shows in Mozambique, talks about a woman who cherishes money more that love. The message in the song is relevant especially in these days of HIV/ Aids. "Bebhi raramba, hanzi mari mberi, rudo kumashure . . .," goes the lyrics.
The voice of a woman who is physically, emotionally and mentally abused by her husband is captured in Mvemve, enhanced by the slow Caribbean beat that Kamusena borrowed from Mozambiquan music trends. The lament is likely to touch women for the way the musician drives his message home. It then changes gear to up tempo where dancers risk to wear the soles of their shoes out.
Kukonzeresa is derived from the latest lingo that refers to an act of causing something. It is on ndombolo tip. Credit should also go to bassist Enwell "Kodza" Taruvinga and rhythmist Itayi Dheya for lending the album with that rare smoko touch only found in the Chazezesa Challengers of those bygone Tazvida days.
The album, Lunga's fifth after Smoko Pachena (2002), Zviri Muchinokoro (2003), Kupakura Nekudya (2004) and Imhosva Here (2006) will be launched soon accompanied by a DVD.
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