Bloggers Music

Written on September 30, 2007 – 8:45 am | by Michael |

PASTOR Charles Charamba’s latest 10-track album titled New Testament in Song departs from his usual museve beat to a mixture of other beats.

But this should not be construed to mean that the album is lukewarm.

In fact, New Testament in Song opens up a new chapter in Charamba’s music career.

It marks the beginning of classical tendencies in Charamba’s music, and although his 1998 release John 3: Verse 16 that carried hits such as Machira Chete, Mhinduro Iripo and Sarudzai remains as one of the people’s favourites, New Testament in Song marks a refreshing introduction of a novel beat by the musician.

This is what Oliver Mtukudzi and Thomas Mapfumo did with their beats, which they revolutionised and modernised to move with contemporary music trends.

A discerning listener would also find that message-wise, New Testament in Song, is much of a social awareness album just as good as it is full of praise, much of which is derived from the Old Testament.

Chisiya — a laid-back and soul-searching song — talks about the merits of marriage.

The song implies that marriage — if both partners stick to their vows — can be an effective tool against immorality, which leads to HIV/Aids.

Here, the listener is involuntarily reminded of Amai Olivia Charamba’s song Rute which also carries a similar message and beat.

Probably for the first time, Charamba goes the shangara way in Ndoga Handimire, in which he expresses fear at being on his own without God as his pillar.

The message that he spread in one of his earlier hits Handidi Naye in which he spoke against paganism is resumed in Hazvigone, where he states:

“Hazvigone kunamata mashavi ndichisiya Mwari wandakaziva, hazvigone.”

It is one of the few sungura bonuses on the album and many listeners are definitely going to fall in love with it and wear out the soles of their shoes.

If you liked Kuna Mwari Kudenga then you will certainly love this song.

In spite of its title that reminds the listener of Sugar Sugar’s track of the same title, Rinenge Jee is typical of the Charamba we’re used to: a compelling lead guitar and mellow backing vocals that makes one tap their shoes in appreciation.

It talks about how the gospel of Christ’s Second Coming is taken as a joke in this era where false gods manifest themselves through various ways.

All of a sudden Charamba soft-pedals and goes the smooth way in the smooth ballad Mutsvene Mutsvene in which he praises God as pure, perfect and omnipotent.

He cites Abraham whom God described as an epitome of uprightness, and thus a true reflection of God’s image.

What sounds like saxophones are heard mourning, whining and humming like wounded sentimental beasts in the background.

Could it be Charamba was experimenting with jazz on this very spiritual track?

Mukondombera Imhandu, carries a potent message of social consciousness and in it the musician makes a declaration against HIV/Aids that is claiming many lives, believers included.

“Baba vakafa nemukondombera, vose vakapera nemukondombera, mukondombera imhandu yedu,” he affirms.

Theme-wise, Mukondombera Imhandu is close to Komborerai Vana, on Verses and Chapters.

Drivers who drink and drive are rebuked in Musatyaire Makadhakwa, a self-explanatory song. The message is relevant because negligent driving has become one of the major causes of road accidents over the years.

Kucheuka Cheuka, Mombe Ndedzemukaka and Ndosara Ndimire add spice to the album. The album, recorded at Fishers of Men Studios and mastered at Cross Line Music, is being marketed and distributed by Gramma Records.

[Via The Herald]