AWARD-WINNING king of marabi music Kireni Zulu says his Legends Unite in Song project against drug and substance abuse, dubbed Regai Zvinodhaka, is due for release anytime soon as it only awaits the golden voice of Elijah Madzikatire to spice it up.
Zulu confessed that it was an arduous process and resource-straining adventure to bring together 19 musicians scattered all over the country for rehearsals.
He identified several musicians who had since retired from urban life and opted for life in the less expensive rural areas.
“It is true my friend that musicians, especially the retired, need help with their social security and, of cause, their career revival as their music is still in serious demand,” Zulu said.
“The Regai Zvinodhaka song is due for release anytime, we are only waiting for the golden voice of Elijah Madzikatire, who is in the United States on personal business.
“We will use the same technique that we used to capture Busi Ncube from her Norwegian base.
“We need more funding to enable us to come up with a comprehensive and thorough rehearsal for our launch and tours.
“We are looking forward to having each of the musicians carry out a performance and then conclude our shows with a grand finale of the song Regai Zvinodhaka.”
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Added Zulu: “The initial stage was a bit humbling as I would rehearse and house some of the musicians at my home before taking up recording sessions at the True Tone Studios in Masasa.
“Some musicians sold their urban houses and invested in rural homes and children’s education. Economic hardships were the worst betrayal and, therefore, some entered retirement age with virtually nothing as residual income.”
Some of the artistes, who feature on the song Regai Zvinodhaka are Zulu himself, Mitchelle Jambo, Micron Jambo, Busi Ncube, Job Mashanda, Jonah Moyo, Foster “The Force” Mkweu, Solo Makore, Jane Chenjerai, Shepherd Chinyani, Somandla Ndebele, Everson Gore, Livingstone Chale, Munyaradzi Chinodiwa, Takesure Muronzi, Knowledge Kunenyati, Tapson Mudimu, Vhori Khumbulani and Elliot Masimu.
“This project is a lesson to young musicians on carrying out an effective collaboration and managing musicianship as a career,” Zulu said.
“We wish to work in conjunction with radio stations and carry out interviews with each and every participating musician.
“The group has a wealth of experience which needs to be shared to uplift the morale of up-and-coming musicians which are now being guided by the Zimbabwe National Music Strategy.”
Added the Ndimi Makajaira Zvekungonhonga famed singer: “This project is aimed for greater success as it will bring into picture the nature of our music industry and uplift our own idols.”
Zulu’s assertions come amid mixed feelings after the Zimbabwe Music Rights Association (Zimura) recently announced a cover versions levy, which states that any band that plays copyrighted songs should pay a compulsory US$150 fee per performance.
Widely travelled producer and guitarist Clive “Mono” Mukundu described the development as a welcome move, saying he went through such experiences when he toured internationally with the likes Oliver “Tuku” Mtukudzi and several other bands.
From Zulu’s fold, musicians like Jambo, Ncube, Mashanda, Moyo, Chinyani and Ndebele have had several of their songs reproduced and performed live without their consent or at least them receiving tokens of appreciation.
The most overlooked truth is that music bands have been their own schools of music, where they imitate a people’s favourite song without recognising the The Performance Rights Act, which rules that artistes through their royalty collection agency should pay a proportion of their earnings in observance of the copyright law.
The legendary Tanga Wekwa Sando, born Ernest Tanga Kambadzo Sando, recently said Zimura should come up with and a fund, comprehensive medical insurance as a back-up for musicians’ social security.
What has complicated the royalty issue is that in the past, local artistes popularised the music of international artistes, who would be invited to stage performances in the country.
Examples are bands like Assegai Crew, who popularised the United Kingdom band UB40, Lubumbashi Stars popularised Kanda Bongo Man, Dudu Manhenga popularised several South African jazz singers, while the Transit Crew, Mannex Motsi and Crucial Mix helped in popularising several reggae musicians.
Previously, Zimura used to pay more airplay royalties to international bands as broadcasters rated local musicians as apprentices.
Back then, international stars would dominate the then Radios 1, 2 and 3 every week on the Top 20 shows.
Likewise, local performers came up with new tactics such as performing two acts, one of cover versions and the other of their own original music.
