Papa Zee: ‘Psalm 23’ review

by

Ngoan’a Nts’oana

By their very nature, reviews lend themselves to subjectivity, and the problem
with most subjectivity is that no two people are guaranteed to feel the same
way. While I may think the reviewed product deserves the utmost praise, the
next person may very well disagree; that is the very reason why I chose to
review this album. I therefore implore you to not take anything written here as
gospel, but merely as a guideline – however biased it may be – to make up your
mind.

Papa Zee’s ‘Psalm 23’ was released to large critical acclaim approximately two
months ago. Originally slated for release in February this year, a change of plans
led to the subsequent delay in the release date. A bit of background check on the
man himself reveals that Papa Zee is one of the people who pioneered rap in
Lesotho. As part of a crew called The Ethnics, Zee Dawg (as he was known back
then) was responsible for influencing a number of people involved in hip-hop at
the time, and organising the now-infamous shows which were hosted at the now-
defunct **club in the Industrial Area. He is, therefore, no stranger to the hip-hop
sphere in Lesotho. At one point, he even hosted a hip-hop show when it was
taboo to have such on our radio stations.

Fast forward to 2007, the newly-christened Papa Zee released ‘The Signature
Album’ which, contrary to popular belief, was a compilation aimed at introducing
people to the artists signed to his Struggle Entertainment imprint, an
independent, pan-Afrikan music label. Some will remember tracks such as
‘Mokhotsi’ and ‘Le se ‘ne le mpotsa’, and the more visually-inclined will definitely
remember the video to the track ‘Shopping’, which featured the Botswana-based
rap extraordinaire named Eureka. The album did manage to place Papa Zee, and
by extension Struggle Entertainment, under the radar. For instance, at one point,
‘Shopping’ was the most played video on SABC1’s late-night music program,
took the number one position for several weeks on a well-known South Afrikan
national radio station, and got featured on a Billboard compilation. Not bad for
starters!

I was lucky enough to have been afforded the opportunity of hearing the songs
on ‘Psalm 23’ well-ahead of the album’s release date, so familiarity reigned
supreme upon my listening to the finished product. What struck me immediately
was the sheer musicality of the songs; structurally, they make a lot of sense. The
arrangement is impeccable, and the subject matter flows seamlessly from one
song to the other. ‘Psalm 23’ is a well-planned, well-executed project which
bears testimony to the high level of experience borne by its raconteur, Papa Zee.
As background prior to listening to the album, bear in mind that it is based in the
eighties, and the themes tackled are such that they reflect that time period,
especially on tracks where he relays the day-to-day occurrence of criminal
intent.
On the album’s introduction, Papa Zee recites Psalm 23 – The Lord is my
shepherd, I shall not want – over a gospel-tinged piano concerto. I am not a big
fan of introductions, and shall not devote much time to it as a result. For me, the
album really kicks off on the second track, ‘Bothata’. It is a braggadocio-type
song tinged with Papa Zee’s legendary slow-flow over a southern-crunk-
influenced beat. It borrows part of the lyrics from his radio-only single,
‘Maputsoe’, on which he pays homage to his home-town. ‘Bothata’ is the second
single after the much-hyped, much-loved ‘Starring’ which, incidentally, is the
third track on the album. A definite crowd-pleaser, it kept many a fan in
desperate wait for the full album. This track reigned supreme on our airwaves
last summer, and deservedly so. It is yet another braggadocio-tinged song on
which the man equates himself to the lead star in a movie.

Moving on, ‘Le ‘mone’ is a welcome break-away from the two energy-infused
beginners. A jazzy track, it features the vocal talents of Judith Somhlaba, who,
and I stand to be corrected on this one, is also signed to Struggle Entertainment.
I picture this being performed by a capable jazz band in front of multitudes of
appreciative audiences at a jazz festival somewhere deep in the Maloti
mountains. From what I can tell, it is a plea to get rescued from whatever evil
forces may lie in one’s path. A very uplifting song indeed! ‘Ke ts’oeroe ke AIDS’
details the never-ending scourge of the dreaded HIV/AIDS pandemic. I am
amazed at Papa Zee’s ability to craft songs to which everyday people can relate
to. On this track, he tells the tale of a friend who has just returned from a blood-
testing session at the clinic with HIV-positive results. Naturally, the friend is at
his wits’ end, but Papa Zee puts his best foot forward by embracing him, and
letting him know that he shall always be available at the friend’s disposal. The
overall message is that AIDS affects each and every one of us, whether
physically or spiritually.

‘Kea o rata’ is a love song, and bears characteristics of every other love song.
Featuring the vocal talents of Mogomotsi, this song is guaranteed to have you
longing to be with your loved one everytime it gets played. An increasing
number of people find themselves in compromising circumstances, such as being
brought up in a broken home, or having a father who is a rolling stone. ‘Khabang
ka ‘na’ delves deeper into Papa Zee’s upbringing and examines the desperation
which can be brought about by such conditions. You just have to hear it in order
to completely appreciate the struggles he went through in order to become what
he is. If not for that, then listen to it just to comprehend the storytelling
capabilities of the man.

‘Number 1’ is a melodic, smooth track for the ladies. It exposes the other facet of
why Papa Zee’s music is liked by a lot of people. He recognises the significance
of melody, and uses it accordingly to write addictive choruses which stay in one’s
mind long after the song stops playing. This track also features a very creative
use of the electric guitar, something which might go either way in hip-hop songs.
Luckily it works here! ‘Gauteng’ epitomises the eighties espoused by this album;
yet another vivid tale, this time around painting the Johannesburg bristle, grime,
grind, and constant struggle of the city-dwellers to survive. Another subject is
that of how Gauteng can either make or break people; if you are unlucky, the
city will rip life from you and leave you for dead.

The final four tracks are an expansion on what we have now firmly established:
this is a versatile album which touches on a variety of topics without managing
to alienate the listener nor deviating from its central theme. It is Papa Zee in his
most comfortable setting. It has fun moments, relaxed moments, intense
moments, and a lot more. If you appreciate good arrangement and good
composition, tied in with impeccable mixing, this album is definitely for you.
However, if your headspace dictates that listening to music which sets trends
instead of following them, then you may find this album a bit off-kilter for your
tastes.

Perhaps Papa Zee is not trying too hard to be original. He knows his abilities, and
utilises them to very good effect. He has managed to take elements from
different aspect of popular culture, added his own personality, and produced an
overwhelming magnum opus in the process. The listeners are made to feel as
though they are part of the whole experience as the narrator transports them
through different corridor of his life. This comes highly recommended. Buy it!

P.S. I accidentally left this album in the CD changer. After just one listen, my
father is full of nothing but praise for Papa Zee, and this is bears testimony to the
vast reach espoused in the man’s music!

Blog: nemesisinc.blogspot.com

E-mail: corporatenemesis[at]gmail.com

Twitter: @nemesisinc