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MWANA WEMUROZVI: STEP BACKWARDS

10 Jun, 2019 - 17:06 0 Views
MWANA WEMUROZVI: STEP BACKWARDS Peter Moyo

H-Metro

. . . Peter Moyo strikes wrong chords

. . . uncoordinated chanting evident

Trust Khosa

DROWNED and discordant vocals…uncoordinated chanting . . . shallow and lyrically economic.

This aptly sums up Peter “Young Igwe” Moyo’s much-hyped and yet shoddy fourth album – Mwana WeMurozvi – recently unveiled in the capital.

After all the hype, which had been created during the build-up to the launch, the 29-year-old’s album is a far cry from all the noise made judging by the poor production quality, arrangement and empty lyrical content exhibited.

Although Peter Moyo’s instrumentalists tried their best to complement their boss in this album, his vocal challenges are worsening with each passing project.

So sad is the singer’s poor vocal protection at a time many were beginning to believe in him while others have even volunteered to help him with vocal projection lessons.

The situation is now dire as compared to 2013 when he released his debut album – Mushonga Mukuru – as many people sympathised with him hoping he would mature with time.

In the year 2015, he got more sympathy and support when he released his second album Mabasa aMwari and he was beginning to show signs of improvement.

However, the sympathy faded in 2017 when he released his third album Mopao Mukonzi, a fair attempt by his standards then.

And this year, the script horribly went wrong for Peter Moyo who bragged he was now a ‘game-changer’ in the genre after he did a shoddy job in his latest album, Mwana WeMurozvi.

In the new album, the opening track – VaMoyo – is yet another half-baked song of self-praising and uncoordinated chanting.

It appears Gift “Shiga Shiga” Katulika was given too much room as a chanter which saw most songs losing meanings and direction, especially the two opening tracks

Although instrumentalists tried to bring decency, the message was hollow as Peter seems to be praising himself.

The follow-up track Shuviro, is yet another disappointment as Peter was literally talking.

He resembled an old man singing while taking a shower during a cold winter morning.

Whoever advised him to sing on a low pitch voice in the studio need to be forgiven as Peter Moyo was literally talking in the song than singing.

As the instrumentalists changed the tempo of the song, it turned out to be a song of self-praise singing once again.

Big spenders ranging from business executives, dealers, footie stars to socialiltes were all mentioned by the chanter.

It appears that Peter forgot that self-praising appeals more during live shows than in the studio.

Most of the capital’s well-heeled comprising Impala Car Rental boss Thompson Dondo, socialiate Pokello Nare, philanthropist Innocent “Mhofela” Shito, Cossy Rules, Ginimbi, Domasie, Reggy Munhenzva and Chief Jose were mentioned in the song.

Not to be outdone was the Utakataka Express boss who also showed his obsession with socialites as he went on to mention footie stars and administrators in the song.

Warriors forward Evans Rusike, Orlando Pirates’ utility player Marshal Munetsi, Kaizer Chiefs midfielder Willard Katsande and Warriors team manager Wellington Mpandare were all mentioned, reducing the song into a meaningless composition of bootlicking.

In the next song trio of songs – Munamato, Mutadzi and Murozvi – there was much to talk about save for Peter Moyo’s aforementioned short-comings.

Of course he tried to handle serious subjects of having eternal faith in God, thanksgiving and need for forgiveness in the three songs but his vocal inability has been his biggest letdown.

The track Domestic Violence makes the album complete although it is just an ordinary song taken off his previous effort Mopao Mukodzi.

It is also evident that the album was either hastily done or the producer was bullied and put under pressure by Peter Moyo who wanted to meet the deadline.

Some critics are of the opinion that the album’s appeal will be felt with time as has been the case with other sungura artistes but in all fairness, this project can easily pass as a half-baked project.

Put simply, the Kwekwe bred singer’s fourth album – Mwana Wemurozvi – is a step backwards.

Without fear or favour, the album signals the singer’s unwanted stunted growth eight years after taking over the reins at Utakataka Express.

In short, the singer’s fourth album is a summation of a crawling toddler in diapers who showed signs of a sprinter as he was side-walked by sympathisers only to crawl again when we thought he was ripe for take-off.

Not only is he crawling again but the Young Igwe needs to go back to the drawing board and engage the right people to take him to the Promised Land.

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