Title:
Take One
Artist: Hallejulah Chicken Run Band
Label: Alula Records
Series: Analog Africa No. 2
Catalog No.: ALU2002
UK Release: October 8th 2007
Analog
Africa have done it again – unearthed textured uplifting
music from Zimbabwe’s rich musical past with the Hallelujah
Chicken Run Band’s 1974-79 recordings that will set you
on your toes even today. The 16 page booklet draws on extensive
veteran members’ recent interviews giving a real insight
into the interwoven Zimbabwean music scene at the time with
archive photos and discography. ‘HCR’s’ sound
became the roots of Chimurenga music with politically charged
lyrics, as well as some love songs, in Shona and original compositions
which was both a major cultural and political pinpoint. The
spiritual mbira plucked guitar style and key range developed
by HCR’s guitarist Joshua Hlomayi Dube is still the keynote
of the Zim sound . The band won competitions and attracted a
major record producer, Crispen Matema, who guided most of their
studio work.
Unlike
many government-backed contemporary African bands HCR was funded
by the white Mangura Mine owners to entertain workers after
their shifts and, security guard’s son, trumpeter Daram
Karanga was given free reign to gather the best musicians he
could find. Two of them, including one Thomas Mapfumo, found
work in the local chicken farm causing the mine manager to exclaim
“Hallelujah” and give the band its name. The band’s
history is intriguing in filling in Mapfumo’s early musical
background as drummer/vocalist and refreshing in that it leaves
room for everyone else in the story as well. Already outspoken
TM was eventually fired (by the mine) in '75 when he refused
to accept lower wages after miners complained that the musicians
were being paid more than them.
HCR’s
awareness of their audience shaped their unique sound –
one track Alikulila is sung in Malawian languages as
many of the miners were migrant labourers and seeing what excited
them encouraged the band’s traditionally rooted style
innovated by Thomas Mapfumo and Joshua Hlomayi Dube. Ngoma Yarira,
Mutoridodo and Murembo are the most distinctive mbira styled
tracks with Thomas Mapfumo’s vocals already sharing that
mixture of urgency and timelessness becoming as much instrument
as voice. The interplay of trumpet and guitars gives a township
feel on some tracks and also doffs a hat to the soul base they
grew out of, notably Manheru Changamire, Mwana Wamai Dada Naye
and Chaminuka Mukuru (leave it playing for bonus track!) and
the runaway Gore Iro explodes with just about everything!
Experimenting
with traditional vocal styles, honed by the covers experience
and playing to the musicians’ skills, the tracks on Take
One leap off the laser beams and repay randomly selected listenings
as well as playing through the compiler’s order. As pertinent
today as then, Kare Nanhasi, is about the high cost of living
for ordinary people attacking the colonialists, and commentators
have been quick to point out that Mugabe fares no better!
HCR
members went on to join better known groups like Dvera Ngwena
and Four Brothers and Thomas Mapfumo went stellar! On listening
to their music again after 25 years Daram said “I just
didn’t realise how good we were” – damn right!
[Musicians:
Original core: Daram Karanga (trumpet) , Thomas Mapfumo (drums,
lead vocalist), Joshua Hlomayi Dube and Elijah Josam (guitars),
and bassist Robert Nekati
Later guests/core: Patrick Kabanda (drums), Wilson Jubane and
Abdulah Musa (guitars) Robson Boora (saxophone), Bothwell Nyamondera
(percussion), and Lovemore Nyamasvisva, Patrick Mukwamba, Elias
Jingo, and C. Rupango (vocals)]
©
Debbie
Golt
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