Zamah’s prayer for Zimbabwe Takesure Zamah
Takesure Zamah

Takesure Zamah

Stanely Mushava Arts Correspondent
If Worship Addicts got away with the first three counts for singing under the influence, then their latest offering Devotional Volume 4 must land them a day in the court of popular acclaim.
The gospel group fronted by Takesure Zamah Ncube is best known for the track “A Prayer for Zimbabwe”, a major nationalist, Christian hit in the mould of Henry Olonga’s “Our Zimbabwe” and Culture T’s “Zimbabwe.”

The album which was released in September last year carries 11 tracks which retain the Worship Addicts’ signature —  laid-back, jazzy tempo — with Zamah’s husky and imposing baritone, supported by mellow vocals.

“Our devotional series can be classified as contemporary worship but it is packaged in a fusion of genres, mostly katekwe, afro jazz and blues,” Zamah said.

“Most of the tracks in the series are my original compositions but of late we have done renditions of hymns in the public domain. Naturally, our songs speak to God, about God and on behalf of God,” said the 32-year-old Zimbabwe College of Music graduant.

In “Song from Hell” the persona laments from hell that his born again friend never took the initiative to share the good news of salvation with him.

“You told me about money and soccer but you never told me about Jesus! You told me about business and taught me politics, but why did you forget to witness Christ to me? Are you happy now that I, your, friend am groaning in hell? ” the persona cries.

The track reveals Zamah’s genius in that instead of prescribing the evangelical call, podium-style, it dramatises it thereby attracting the listener with even more urgency.

“Healing Song” invokes the biblical promise of healing against disease. Zamah rebukes disease and charges that it cannot co-exist with the Holy Spirit of which the believer is a temple.

The rest of the songs making include “I Believe in Miracles,” Ropa raJesu,” “My Heart Longs,” “Ndiani Pane Zamba,” “Kune Zita,” and an acoustic version of “Song from Hell.”

Zamah said he is inspired by gospel artistes with an Afro-centric feel, chiefly Derrick Ndzimande and Brian Sibalo as well as international psalmists like Jesus Culture and Marvin Sapp.

“I envision major changes in Christian entertainment. I see the church embracing worship in deeper and more conscious ways not just as a curtain raiser for preaching,” Zamah said.

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