Chief Mutota releases masterpiece

commentary on the life of disadvantaged children the world over. It goes deeper into the religious realm where he questions the morality of collecting cash in churches as tithe but never using it to help multitudes of disadvantaged children. It is indeed a real sad story. “This is my sad story!”
The second song, “Tribute to Gushungo”, is a traditional bit, in which President Mugabe laments lack of respect for the leadership and the gallant freedom fighters who sacrificed their lives to free the country from colonialism.
In the song, the President reminds all and sundry about the blood shed during the struggle and encourages those who benefited from the land reform programme to excel as a way of pacifying the gallant fighter who did not make it to independence.
The instruments complement calm but commanding voice, and raises emotions as one reflects on the war in Rhodesia, the independence and the land reform.
“Makanganwa vanangu . . . takasiya dziva reropa musango . . . mhuri yangu inga makapinda muminda vanangu . . . ini ndinoziva muri mhuri yangu . . . makanganwa vana vangu . . . ,’’ goes the song.
This one is by no doubt a must for those who love their history and their country. It is strong, emotional but calm and composed when one collects the message like a bee collecting nectar.
The third song “Dzoka Kumusha Muzukuru”, sounds like a call to legendary self-exiled musician Thomas Mapfumo to come back home.
“Dzoka kumusha Mukanya, ndiwe Muzukuru wemusha uno . . . Bira rako rakumirira Mukanya!”
Gasho even suggests that Mukanya created problems for himself and hence should solve them alone and come back home to be with others. He says the music industry misses Mukanya.
The song “Kubatana” is a celebration of the Unity Accord signed between the two revolutionary parties, Zanu-PF and Zapu. The need to continue upholding national unity is loud and clear.
Another fascinating song is “Samanyanga”, a typical traditional Shona praise rendition of the totem Nzou Samanyanga (the elephant). It chronicles the greats from that totem like Oliver Mtukudzi a.k.a. Tuku.
The last song, “Nyika Ino Hatinzvaho” (Korekore dialect for hatinzarwo) compares the political systems in South Africa and Zimbabwe. Gasho takes the political pundits down memory lane saying what the Boers in South Africa did to Chris Hani and Steve Biko and of late Julias Malema cannot be done in Zimbabwe.
Zimbabwe, he says, has too strong nationalists who have stood the test of time.
“Isu hatinzvaho, vakomana, isu hatinzvaho, zvavavatita vaBiko iso hatinzavo, zvavakaita vaHani isu Hatinzvaho, Zvavaita Malema, mwana anorema vakomanisu hatinzvaho. Ndati isu hatinzvaho . . . ”
Having listened to this album, I have a feeling Gasho has matured with age like wine. The message is clear, the guitar speaks alongside him and the drums complement too well, and so does the flute.