Unwarranted attacks on Kuimba 11

There seems to be people in this country who just love to hate. And if there is one grouping that has grown thick skin because of endless attacks on their works then it is the reggae outfit from Chileka, the Black Missionaries.

The past few weeks we have seen people from all callings including some from the media and even from the music industry picking on the four tracks that the Black Missionaries, fondly called Mablacks, has released in readiness of their ultimate issuing of Kuimba 11 album.

The tracks released on Friday April 20, 2018 include Zofuna Mtima Wanga, Umboni, Special Lover and Mbusa and like is the case every time they are about to release an album the noise is always deafening.

Several reasons could explain the source of such noise. One is because people in this country are always envious of those that they think are doing well. Be it in politics, business, religion, soccer and even witchcraft those that excel will be called names.

Come to think of it, before everyone has been trying to compare the current Black Missionaries of Anjiru, Chizondi and Peter to the one led by Evison, and Musamude. The comparison has always favoured the fallen band members.

And yet what is funny is that even when Evison Matafale and Musamude Fumulani were there, the three were around as well. In fact most of the tracks that we think were the best then, were composed by the very same people we now vilify.

If you ask me, even when Evison or Musamude were to be around, the same people who claim that the current Mablacks is failing, would still have faulted them.

You know why I know so? It is happening to Lucius Banda who has been there long before the Black Missionaries. Every other time Lucius releases an album people condemn it saying Son of the Poor Man was the best.

Our challenge as a people is always to think that what we are familiar with from our past is the best. You can just hear old ones boasting that they had the best childhood unlike the current youth who are corrupted by the video games and smart phones.

What is funny though is that how could they compare themselves to the current youth when all their playtime was dominated by imitating a hyena or creating cray car toys?

The same is happening to music. These old-cray-toy-car-making-youths cannot like the same kind of music that the present smartphone youth root for.

People ought to live with the fact that times are changing and therefore even music won’t remain static; it will keep being transform to suit the modern ear.

I am saying all this if the argument is that Mablacks are no longer sounding like before. I however strongly believe that this would be a lie because Mablacks have not changed their mission. Their music would still make Matafale and Musamude proud, knowing that they are indeed perpetuating the mission.

Hello! Please give it to the Blacks. We are talking of eleventh album. May be you are not aware, Matafale only managed Kuimba 2 with the Black Missionaries having done Kuimba 1 with the Wailing Brothers. Mablacks have then gone ahead to release nine more albums on their own.

When Musamude was passing on, he had just finished recording Kuimba 6 with his younger brothers and they are now doing a fifth album after his demise.

How many bands have died for various reasons? The question should be what has made the Black Missionaries tick and continue releasing one album after the other not to mention their hard work on the road when others have fallen by the wayside?

There are many factors before one has to consider before attacking the band.

They have selflessly tried their best to serve this country musically.

It’s also our choice as consumers to go for those that we think are doing the best music that pleases us. The least we can do if we do not like the Black Missionaries is to keep quiet and let them be.

How long should musicians play on stage?

‘When you walk on stage you cannot walk off unless there is nothing left to give’ this is according to Brian Roemmele, an alchemist and metaphysian.

This is exactly supposed to be the case when our musicians conduct live performances.

I live just behind Motel Paradise which happens to be the common venue for musicians. Almost on monthly basis or whenever there is public holiday, Entertainers Promotion of Jai and Tonderai Banda line up a few artists that perform throughout the night and only stop at dawn.

One fallen musical great once said standard performance duration for professional live bands is 45 minutes. Live band performances are thus sold or bought in 45 minutes sets. If an artist plays for 90 minutes he/she gets $ for two sets.

Now for a reviewer and critic like me I have a problem yes, when an artist will play from 11PM to 5AM but if that’s what they have announced will be the duration of their act, then I have a very big problem when it is not done honestly.

I know that some artist is aware that they cannot last a mile; if indeed they play more than 45 minutes and the promoters are also aware of the same that’s why you will find a list like that of Police Orchestra, DNA, Sir Patricks, Anthony Makondetsa and the Black Missionaries and all their supporting cast.

Most of the times the indication is that the shows will commence from 8PM but most of the times it starts at 11PM meaning by 4 or 5 AM at least six hours of play has passed which if you base it on standard performance time, this would be a raw deal.

One other aspect is that do the artists know how much they should be out there performing?

I have seen that locally artists are neither aware of this not the need to protect their voices no wonder a few years down the road what used to be their golden voice is now replaced by some un-recognisably croaky, gruffly throaty, and guttural voice that takes away the artist’s mettle to either record more or perform.

Because naturally our bodies are not meant to overstretch some acts arts will resort to what they consider as performance enhancing substance like alcohol and drugs which in turn are taxing as they compromise the voice of musicians; that same voice that catapulted them to stardom turn them into laughing stocks once it is distorted.

‘Fuko Lokondedwa’ is Makondetsa’s Protest

On the account of the contagious awe that his six previous albums have drawn out of many people, Anthony ‘Mr. Cool’ Makondetsa decided to carve another piece of facet that has become the most shining of his multi-faceted career when he released of ‘Fuko Lokondedwa’ - his seventh album.

Since his first album in 2000, ‘Tisatengeke’ the journey has been that of hope. And 2016 we are told an Eighth album is in the making. But let’s talk about ‘Fuko Lokondedwa’.

Toils without Dividends

Makondetsa himself reminiscences that he always cherished the dream that, “with music I will get wealthier than doing anything else.”

Buoyed by this belief and the fact that he comes from a musical family, the following year in 2001, he released ‘Kambelembele’ in the hope that to have two albums in the bag would translate into a six-figured financial statement.

Perhaps he was doing things in a hurry and had a break of two years before unleashing a third and fourth album within two years. In 2003 he christened ‘Maonekedwe’ as the third album followed two years later by another one; ‘Mfakafaka’.

It is now apparent that every two years, Makondetsa releases an album if the release in 2007 of ‘Ndilibe Mlandu’ tagged along by ‘Mbumba ya Abraham’ in 2009 is rendering enough clues to reinforce this observation.

But well, it is flatly challenged by the release of ‘Fuko Lokondedwa’ which came after four years.

The answer is in what Makondetsa says is his new posture of protest.

“At the rate we are going, I realised that in my country Malawi you can entertain the people through music for the rest of your life but still die a pauper,” observes Makondetsa.

He says for years, and after invading the hall of fame with seven albums which means an average of 84 tracks, there is nothing to show and yet through music in other countries, just one track has catapulted musicians to stardom.

“While the marketing system is a big letdown, then there is piracy to contend with. Piracy is lethal poison that is eventually going to kill the music industry,” says Makondetsa who rubs it in the face of most Malawians who help piracy by buying pirated music.

Religious Protest

Makondetsa says from the preceding Mbumba ya Abraham album before the latest Fuko Lokondedwa; he made a decision that he will sing religious songs which will take him closer to his God in protest against lack of progress despite fame and more musical products.

“I realised that the schedule of this career takes me on the road half of the time and in a way was pushing me away from my God,” he explicates, “I discovered that I needed to create a situation where, if I don’t get anything from music then I should always talk with my God through music for my own spiritual benefit and satisfaction.”

“Now even when they will pirate my music and leave me a destitute, with God you don’t lose anything,” he philosophises.

Now, besides the protest for lack of assets accumulation out of music and that Makondetsa, a father of 13-year-old Yankho who though in Standard 5 is already a keyboard expert, says he is spending more time reading the Bible where he is getting inspiration to come up with latest compositions.

And indeed this reggae album has given people another reason why they should keep on mistaken ‘Mr. Cool’ as the de facto leader of the Chileka outfit – The Black Missionaries.

Mythical themes

But perhaps without trying to be judgemental, it is only fair to state that his latest ‘drudgery’ only manages to confuse his followers more as it still adds to the myth that are in the themes of his message.

It reminds all, of living and fallen stars that once shone and still shines, and provide unfading light to the Singano Village in Chileka.

One that quickly comes to mind is the star in fallen Gift Fumulani. He is Makondetsa’s cousin, whose last ten-track album ‘Mphamvu yake Mulungu’ still controls its place in the hall of fame as one such musical artefact that is more revealing. Long he had also decided to get his inspiration from the Bible.

Nonetheless like Makondetsa’s ‘Fuko Lokondedwa’ it is a very personal statement of one man whose mind was still searching for a right spiritual sanctuary.

While Fumulani’s last ‘toils’ was an interface of intercession, mingled in a psycho-religious dilemma, spiritual declaration, interlocked with an expression of love devotion, in Makondetsa’s latest ‘efforts’ there is one religious man whose every track is incomplete without mentioning the name of God the father and the Son – Jesus.

Look at the opening track of the 11 tracks in the album, ‘Ali Pompano’ which impresses on the message that Jesus gave to his disciples that the one that will betray the Son of Man was amongst them. You are left wondering to whom the message is being directed to.

The lyrics:-

“Eeeh! Ali pompano – Yemwe azakupachike”(Yes he is here – the one who will crucify you)

Indee! Ali pompano – Omwe azakupele.”(Yes they are here - those who will betray you)

It shows that Mr. Cool loves to be allegorical in the lyrical aspect of his tracks.

Remember ‘Ndilibe Mlandu’? It does not specifically state its theme on one attempt of trying to understand its lyrical content.

“It’s just a gift from God that I can present my musical message in such a parable like way,” acknowledges Mr. Cool.

Gospel, Spiritual or religious

The second track, ‘Podzatitenga’ is something artists like Lloyd Phiri will turn green with envy with as it is a typical of what they call gospel tracks, still bringing confusion to the question, Who is a gospel artist?

‘Muyuda’ which is one of the album’s biggest hits has the same ring to it but I don’t agree to describe it as a gospel track, it’s rather a religious track.

“You can’t identify what I sing as what has become accepted in Malawi as Gospel music. It’s not spiritual music,” says Makondetsa before agreeing, “But yes it is religious music.”

Uyu ndi muyuda; Ochokela/wobadwira ku Yudea

Abale ake nga Chiyuda; Ndiye Mfumu ya ayuda

The rhyming chorus above has become explosive, and like is the case with the past works; these tracks tend to become street anthems.

‘Fire Time’ one of two English tracks is also talking about the son of man who is about to finish the revelation with fire, while the other English track ‘Black Woman’ is where he is expressing love of his black beautiful woman whom he cannot stay without.

This track and ‘Sadziwa’ as well as ‘Sudzampeza’ are the only three tracks that have no where mentioning Jesus and God, perhaps because they are love tracks.

Mr. Cool of the tribe of Benjamin

The title track ‘Fuko Lokondedwa’ is Makondetsa’s favourite: “In this track I am talking to my God and I feel good about the sensation it emits when I am singing it.”

There is a track dedicated to his grandfather Enoch Robert Fumulani called ‘Wagwa Mtengo’. He passed on to our ancestors four years ago.

He says as someone whose mother was last born as was the case with Biblical Benjamin – by the way, Robert Fumulani Jnr. father to his Black Missionaries cousins was 5^th born while Arnold, father to late Gift and Moda was 8^th while his mother was 9^th – he made the track his personal docket.

“In this track I talk about myself and family in earnest. I talk about me and my upbringing in the household of my grandparents,” says the diminutive father of three, whose other two children are Anthony Junior and little daughter Salome.

In the book of Genesis 49 Jacob blessed all his 12 children and when it was the turn of Benjamin whom Makondetsa identifies with, he said “Benjamin is the ravenous wolf, devouring his enemies in the morning and dividing his plunder in the evening.”  

Does this signpost that it is time for pirates to take cover?

The 11 track reggae album, [of course ten tracks, if one considers the dub version inclusion of Fire Time], is a typical of Makondetsa album, except that the Biblical influence seems to be doing wonders; besides its protest approach, it is quite engaging and one can only respond to Mr. Cool’s pleas and buy a copy.

“Piracy, especially in Lilongwe where it is being done on a large scale, is compromising our status and considering the poor music industry, I don’t know what Malawians are expecting us to become,” bemoans Makondetsa.

Khonzie Masimbe’s 6 Questions

I must confess, until Monday May 14, 2012, I had not heard that in Malawi we had a musician from Chileka – I guess related to the Fumulani’s – by the name, Khonzie Masimbe.

By a streak of luck for me or a strike of misfortune for Khonzie, I first saw him and for the first time, when he curtain-raised a Black Missionaries show at Afro Motel in Blantyre on the mentioned day.

I remember to have indicated on these pages that I cherished the opportunity to sample performances from Khonzie Masimbe and there was also Toza Matafale I was seeing for the first time on the day.

My observation at the time was that “Masimbe is good and has only ‘he’ to blame if he will not make it big.”

I thought I had seen the last of Masimbe but I had another thing coming.

I went into a barber shop in one of the townships in Blantyre to shave and trim and there was a television screen at the corner which was showing pirated Malawian music videos from a VCD player.

While waiting for my turn, I had no interest in what was being played and started checking emails on my phone when an inviting reggae track opening, caught my attention.

When I looked up on the screen I ended up into a video track which wass showing Khonzie and a woman holding hands walking in the street.

A girl by the name of Beatrice Katema opens the vocals of the track with a declaration: “Ndimakukonda” [I Love you] and instantly Masimbe answers with a need for real assurance: “Tanenadi Chilungamo” [Please say the truth].

Then after some captivating instrumentations he starts:

“Inde ndikufunsa mobweleza-bweleza; chilungamo ndi chofunika, ukapanda kundiyankha bwino, ndizakusiya wekha m’mawa” [I will ask repeatedly; truth is of essence, if you fail to give me a candid answer – I will leave you in future].

“Undiyankhe momveka bwino; usawonjezelenso bodza, ukanama bwenzi Langa iwe uzavutika Wekha m’mawa” [Give me a plausible answer; don’t sprinkle it with lies, if you lie you will suffer the consequence tomorrow].

Mvera (Listen):

1. “Iwe kodi uli ndi mwana kapena ayi? Undiyankhedi Chilungamo”[Do you have a child or not? Tell me the truth]
2. Ngati unakwatiwapo undiululire, ndisanzamvere anthu ena… [Have you ever been married? Tell me, I don’t want to learn it from other people]
3. Nanga makolo ako amati chani akawuwona umphawi wanga [What do your parents say about my poverty stricken state?]
4. Wakonzeka kusiyana nawo makolo ako, ndikutengele ku Chileka [Are you ready to leave your parents’ home and allow me take you to Chileka?]
5. Kwanu ndi opemphera kapena ayi, Mulungu wanu ndi chumacho [Do your people believe in God or you worship your wealth?]
6. Kodi umandikonda ndi mtima onse kapena ndingobesa[Do you love me wholeheartedly or you’re just wasting my time?]

Chorus

Mafunso anga dziwa ndi asanu - Ndi limodzi kwa iwe, [My questions to you are six] ndipo undiyankhe lero – Ndimakukonda [And please answer them today – I love you]

Mayankho ako akhale asanu - Ndi limodzi kwa ine, [Your answers have also to be six to me] ndipo undiyankhe lero – Umandikonda. [Answer me today – You love me]

Now the talented lady musician by the name of Beatrice Katema is unveiled in this track. I wonder why Malawi does not know about her. She showcases what a talent she is when she starts responding to the questions:

Ndikuyankha mobwereza bwereza; cholinga choti umvetsetse, ndikapanda kukuyankha bwino ndizavutika ndekha-ndekha. [I am answering repeatedly; so that you should understand; if I fail to give you a candid answer – I will suffer the consequence on my own].

Ndikunena mobwereza bwereza; chilungamo ndichofunika, ndikanama mwamunanga iwe uzandivuta ndi mafunso. [I am speaking repeatedly; truth is of essence; if I sprinkle my answers with lies, you will trouble me with questions].

1. Nsanje ine ndilibe pa moyo wanga undidalire nthawi zonse [I do not have a jealousy life, depend on me]
2. Kwathu samaunyoza umphawi wako, usamachite nawo mantha [My people do not despise your poverty-stricken status, don’t be afraid of them]
3. Ndakonzeka kusiyana nawo makolo anga, unditengele ku Chileka [I am ready to leave my parents, take me to Chileka]
4. Love ndizakupatsa usadele nkhawa ndikunenadi chilungamooo [I will give you love, don’t lose trust, I am saying the truth]
5. Kwathu timapemphera mwamuna wanga, Mwini moyo timamkweza [My people are religious my man, we extol the Creator of life]
6. Mwano ine ndilibe pa moyo wanga, kufatsaku ndichibadwa [I am not rude, I am submissive from birth].

Now I gave you the lyrics to try to offer you the beauty of the video track which is an epitome of creativity that we need in our music video productions.

The scenes of Chileka and the City where the woman has been hauled from and to are clearly depicted in the video track necessitating that there is need for music lovers to have and watch it.

I always talk ill of the lyrics and mediocre production of our music; do I need to keep quite in the face of quality work like the one Khonzie Masimbe has given us?

Feedback: drummingpen@journalist.com