adminStanely Mushava Christian Entertainment
The first family of Zimbabwean gospel music, Pastor Charles and Olivia Charamba, has broken its sabbatical with an album entitled “WeNazareta.”
The new album, which was recently launched at the Ster Kinekor movie auditorium, has a laid-back, jazzy feel, marking a change of taste from the couple’s signature sungura bias.
It is the longest-awaited album from either half of the duo, coming eight years after Amai Charamba’s last offering, “The Gospel” (2006), and four years since Pastor Charamba’s last effort, “Pashoko Pangoma” (2010).
As such fans were all ears for it, and the experimental somersault has already divided opinion with some welcoming it as a pleasant surprise and others, as a disappointment.
What is not in question, though, is that while the Fishers of Men are back with different bait, their theological hooks are as sharpened as ever to turn many to righteous.
The fishing couple might be poised for yet another “net-breaking, boat-sinking catch,” as Joseph Prince puts it.
For those who have been following the couple’s pilgrimage from Pastor Charamba’s debut seven single “Ndinovimba Nemi/ Jehovah NdiMwari Wedu” (1995), it is apparent that their music has been consistently evolving, with each album confectioned for a distinctive impression.
Messages on “WeNazareta” are, as characteristic of the Charambas, thoroughly biblical and adapted to social contexts which the audience can effortlessly relate to.
For my part, the album hit me a surprise, being at home with the sungura staple, but as it made a gradual impression, a terrible beauty was born and I have since been unable to mute it for too long.
Time will tell whether the couple’s legions of fans are up to the new bait but the changeover is nothing short of a painstaking effort. Appraised in its own right, it is a dainty, beautiful and wholesome work of art – and no mean feat when the supple switch of genres is considered.
If the title, “Wenazareta,” is by any means an allusion to Pastor Charamba’s breakthrough track, “Mhinduro Iripo,” off “John 3:16” (1998), then the couple might have already prefigured an obscurity-busting mojo for the album.
“WeNazareta” is made up of 10 tracks, “Kukunamatai,” “Ndiwe,” “Men of David,” “NaJehovah Zvinoita,” “Glory to Jehovah,” “Mugamuchire,” “Ndinochemera Jesu,” “Tsitsi, Nyasha neMutsa,” “Munopindura” and “No Woman Should Die (While Giving Life).”
“Ndinochemera Jesu,” is an emotive track in which the supplicant beseeches God to help him out of stagnation. The supplicant laments a life retarded with nothing to show for long years of toil while others step ahead from behind him to become accomplished, establish homes and gather wealth and implores Jesus for deliverance.
One jam irresistible for sheer melody is “Glory to Jehovah,” a celebration of Jehovah El-Shaddai whose faithfulness and power alternates seasons at their set times and sustains the world.
“As we gather at His gates to give Him praise, glory be to the Lord, glory be to the Lord. As we gather at His gates to give Him praise, glory be to the Mighty Lord who reigns from above,” ascends the sweet savour of worship.
“Tsitsi, Nyasha neMutsa” is an intercessory prayer for love, mercy, grace and love to pursue the supplicant’s family. The psalmists plead with God to avert from their family the tragedy of Hophni and Phinehas who perished for lack of guidance.
“Mugamuchire,” an exhortation on marriage to young people, sounds like a sequel to “Munozivei Vana Vangu” off “Verses and Chapters” (2004) and is the only track on the album which retains the racy sungura gospel tempo which characterises previous Fishers of Men albums.
The track urges unreserved acceptance of one’s life companion according to the divine scheme of destiny, notwithstanding the partner’s background, looks or financial status as these can always be rendered inconsequential by unconditional love.
“No Woman Should Die” is a plea to policy-makers and society to curtail maternal mortality. Make-do midwifery, unplanned pregnancy and inconsiderate allocation of chores to pregnant in-laws in keeping with retrogressive customs are discouraged as potentially fatal threats to mothers and babies.
“Ndiwe” is a laid-back love song in which the couple appreciates each the other’s complementary role in their life and thanks God for the precious gift of a loving companion.
“Kukunamatai,” the opening track, is a reminder that the principal reason for our being here is to worship God and that without divine assistance our faculties are doomed to falter.
“Munopindura” is an affirmation that God always responds to prayer and that sometimes His answer tarries because we need maturity first. It is not God’s “unwillingness” but our “unsupported format” that must be dealt with.
“NaJehovah Zvinoita,” is a song about standing strong and unshaken on God’s Word till He changes the supplicant’s situation for the better. The psalmist strengthens Himself in the conviction that God’s Word never returns to Him void.
“Men of David,” culled from 1 Chronicles 11, draws a parallel between David’s men of war and the church of Christ. Christians are urged to be daring and unstoppable in their evangelistic mandate as these valiant Hebrew warriors.
After this jazzy offering no one knows, what will be dished out next from the Fishers of Men stable. Who knows if a gospel kanindo album is not in the offing?
Stanely Mushava blogs at profaithpress.blogspot.com
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