Baba Harare unleashed his creative potential on a fourteen track album which has all the makings of a timeless offering. Baba Harare’s music is evidently a product of listening to a lot of Radio two (Now Radio Zimbabwe), there is some bit of Chimora, Lucky Dube, Progress Chipfumo, Master Chivero, Paul Matavire (Jairos Jiri era), Black Umflosi and System Tazvida. Songs on this album either carry melodies or instrumentation which is very similar to what was released by the greats I mention here. Let me hasten to say anyone, who fancies to be like Jah Prayzah, Andy Muridzo and now Baba Harare and has not listened to Master Chivero is just a little short of being stupid.
Braveman Chizvino, took the sound that made his former paymaster Jah Prayzah a household name in Zimbabwe. The City Father makes use of simple melodies which are cyclical in form. His music generally consists of a short, repetitive declamatory `statement’ to which other cyclical melodies respond in specific harmonic and rhythmic relation. He also creates rhymes through the use of final linking, which is arguable Zimbabwe’s most favoured poetic style. Perhaps, Baba Harare’s stand out ability is the creation of polyrhythms. He intricately weaves the simple duple beat with a triple beat. Ordinarily, this should cause confusion particularly to the uninitiated ear but because the man plays and sings for his instruments the music jells, oozing with dynamism and energy which makes Zimbabwean music a marvel.
His music is a granary of social intelligence; it permeates the social strata, speaking to people from all walks of life. The themes in his songs range from happiness, sorrow, protest, sour relationships, love, unity and hope. This is one album where anyone can find counsel, celebration, positive reinforcement albeit in solitary confinement.
I find his collaboration with Alick Macheso unimpressive. I was expecting Baba Sharo’s signature thudding bass guitar. It’s not there! I am an avid Alick Macheso fan who relishes every moment he shows his musical virtuosity. However, the word play is nonetheless genius. The use of Shona idiophones and allegory can make the best of Kwayedza writers envy with jealous. It’s however, unfortunate that I could not pick what Baba Sharo says in what I think is KiSwahili, but anyone who follows Macheso knows that whenever he sings in any language that is not Shona the melody is infectious.
His collaboration, with Progress Chipfumo is just what the ‘doctor ordered’. Opening with signature Progress’s staccato guitar, the moderate tempo song speaks about ‘giving whole heartedly’. The two posit that it’s only humane to give in abundance, with a clean heart. Out of 10, I give this album 8. I have just subtracted two marks, one for not giving us Baba Sharo’s bass and the other mark to make haters happy.
There are quite a number of songs which I felt he is singing about his former paymaster. I won’t delve into that, lest I spend my days in hiding. For textual analysis of the music, I suggest buy a copy or follow Baba Harare on his various online platforms.
I AM OUT!
