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From Miriam Makeba's early hits to the recent explosion of Reggae, African and World music in concerts and radio, I've loved everything I've heard of African music. I learned a lot listening to NPR shows like "Afrodesia" and "Morning Becomes Eclectic." In the early �80s, I started playing with Ricky Fataar, who started out drumming with The Flames, the band of brothers who became a teenage phenom in their native Durban, South Africa in the 60s. He and some other band members turned me on to lots of great African music, including Ladysmith Black Mombazo and the Indestructible Beat of Soweto collections. We were also lucky enough to play on some festivals with Mali's great Ali Farka Toure, Nigeria's King Sunny Ade and Paul Simon's amazing Graceland musicians.
A few years ago, while we were traveling on the tour bus, our bassist and resident musicologist, Hutch Hutchinson, played the soundtrack from a Zimbabwean movie called Jit, featuring music from legendary superstar, Oliver Mtukudzi. When I heard the song "What's Going On," something happened. To try to explain it is like asking somebody why they love chocolate. The arrangement was so gentle and haunting. The juxtaposition of what Oliver sings about (a man confronting his wife's lover) and his raw, imploring vocal reminded me of Otis, Toots and some of my favorite reggae뾞n odd pairing of agonizing, thorny lyrics over basically lighthearted music. I haven't had that kind of response to a song since I was a kid listening to "Satisfaction." I asked Hutch to make me a tape of the CD and listened to it over and over. Then I got the soundtrack and the video, and some of Oliver's other recordings. I wanted to meet him, see him perform, maybe collaborate. I was completely smitten.
And although we'd not yet met, Oliver's music became the inspiration for a song on my l998 Fundamental album called "One Belief Away." We'd already written the verse and lyrics, but somehow the chorus just wasn't working. I tried weaving some elements of the bass and keyboard line from "What's Going On?" into the chorus and the song just slipped into place. We sent a tape to Oliver, who was enthusiastic about the long-distance "co-write" and our newfound collaboration was born.
I have tremendous respect for Oliver, not just because of his amazing body of music, but the commitment to raising people up in all the work he does. He has earned the love and admiration of his countrypeople through the way he lives his life. He has rightfully held this position of love and esteem for so long, it is high time the rest of us have a chance to see what has made "Tuku" such a treasure in his homeland. I'm so glad this record will help to make that happen.
Bonnie Raitt
1. DZOKA UYAMWE
This song interweaves two poetic voices. The first voice is that of a man frustrated by society. People judge him by his looks, without considering his inner self. Because of this, he makes a resolution to go back to his roots - Dande!
The second voice is that of the man뭩 mother. She passionately beckons him to come back home where her bosom is patiently waiting for him.
No matter what society does to you, your roots will always be waiting for you, waiting to soothe you. So please do not judge a book by its cover.
2. TSIKA DZEDU
Socially conscious as ever, Tuku laments the way some people despise their culture - their traditional meals, folk tales, music etc. He then throws in a question: For how long shall we keep running away from our shadow?
Then he switches to a direct call for people to be proud of themselves and their culture - for their own benefit and for the sake of the future generations.
3. MAI VARAMBA
Society says that a son has to be a man and grow up to provide for the family. Even before he has fully matured, he has to go out into the world to prove his manhood.
But we have here a mother who refuses to accept this. Her son can never be thrown into the deep end in this manner. Let him become a fully grown adult first.
4. NDIMA NDAPEDZA
The typical successful Shona farmer usually encourages other farmers in his community to work harder. He/she would normally do this through boastful self-praising words.
Tuku assumes the role of such a farmer and says he has played his part as best he can. He has weeded the (cultural) field. It is now left to you to judge - and to emulate him.
5. TAPINDWA NEI
What has become of this world? Men sexually abuse innocent children. What kind of desire is this which has no limits? Imagine the pain if your own child were abused!
This is beyond imagination꿻oo difficult for the mind to accept.
6. TODII
In this piece, Tuku evokes the listener뭩 emotions over the HIV/AIDS pandemic. He asks: "What shall I do with this (sad ) situation? You are living, yet you know you have a virus which will lead to death. You live with a baby in your womb which you know will die because of the virus. Your partner sexually abuses you yet he/she knows that you are infected with the virus......." It is traumatic.
7. MABASA
This is a highly inspired song mourning the devastating effects of AIDS. Without directly referring to the disease, the song has enough imagery to paint the bleak picture: "Tears run dry. We mourn quietly. Death has now lost meaning (because of its frequency). Funerals no longer have the necessary dignity. Everyone around us is dying. Who will sympathize with whom since each one of us has death in their homesteads daily? Who will mourn whom? Who will bury whom? Who will feed whom since the breadwinners are all dying?"
8. RIRONGERE
Assuming the role of an elder, an advisor, Tuku implores the listener to plan for tomorrow. As he says: "Today is going to pass. The following day will come with its own challenges. No one knows what the future holds. Prepare for your future."
This piece is a package of Shona proverbs, idioms - and Tuku philosophy.
9. WAKE UP
In this direct and beautiful piece, sung in Ndebele and English, Tuku calls upon us all to unite. Let us unite and do away with hatred and jealousy. Time is against us. |
