After decades of silence and several failed revival attempts, the legendary musical legacy of the late Paul Matavire has found a dynamic new torchbearer in Knowledge Mbavara, whose talent, passion, and vision are breathing new life into a once-dominant sound.
By Dickson Bandera
Mbavara, who formed The Hot Machine Band in 2022, has dedicated the past two years to rehearsing and performing Matavire’s timeless classics while composing new songs that uphold the societal values championed by the late musical legend.
His efforts have already begun to bear fruit, with live performances in Harare and surrounding areas rekindling cherished memories of Matavire’s outstanding work.
To date, he has recorded three albums, “Sekera Mudende”, “Return of Doctor”, “Makwikwi Nerudo”, and is currently working on their fourth album, “Bachelor”. The music is largely grounded in Matavire’s signature style.
According to his management, a key part of Mbavara’s mission was receiving the blessings of Matavire’s mother, Mbuya Makanani Mafirechuma, and the Jairos Jiri Association, which provided the platform that helped Matavire blossom.
Stepping into Matavire’s shoes, Mbavara admits, is a monumental task, but his passion and respect for the legacy fuel his determination.
Paul Matavire, popularly known as Dr. Love, remains one of Zimbabwe’s most celebrated musicians, renowned for a groundbreaking style that went beyond entertainment to address societal issues such as relationships, morality, and public health.
Despite being blind, Matavire’s poetic genius and sharp humor made him a “social engineer,” sparking critical conversations about the everyday experiences of the common man through music. He had a unique ability to package his music to address social issues with humor, storytelling, and linguistic brilliance, making him a favorite for many music lovers.
One of his standout songs, Tanga Wandida, was composed after a Chinhoyi women’s club requested a song highlighting workplace exploitation of women. Matavire tackled the assignment with precision, addressing predatory behavior with wit and relatability. The song remains a gem.
Similarly, his hits Joke of the Year and Back from College turned personal adversity, including his legal troubles and time in prison, into art that resonated deeply with listeners.
From the common Christmas Day, Matavire composed a catchy song, a masterpiece, “Ikisimusi Isifikile”, demonstrating his classic ingenuity.
Matavire joined the Jairos Jiri Band in 1982, where his ability to compose melodies and craft vivid narratives set him apart. After making hits and even secured foreign trips, Matavire was arrested on rape charges and subsequently served time at Khami prison. When he was released, he briefly played with Jairos Jiri before he formed The Hit Machine Band, which became a powerhouse of creativity.
Drummer Gulf Makina, who joined Matavire in 1992, fondly recalls the band’s sold-out performances, the joy that was always in their camp, and their leader’s ability to envision and guide every detail of a song.
“We were a happy group, well paid, and we used to enjoy how Matavire could instruct guitarists on melodies and coach vocalists on their parts until the music aligned perfectly with his vision,” said Makina, who now fronts Chinyavada Sounds.
“People loved him, they could come to shows to see him—the performances were electric.
“So we could go into Mashonaland Central and have shows every day, with people coming in large numbers. At times, we couldn’t find time for rehearsals.
“At that time, we had our transport, and Dr. Love even allowed members to travel with their spouses. There were no cellphones at that time, so if you spent three months away from home, in most cases, you couldn’t have any communication with the family,” he added.
But Matavire’s disengagement and untimely death in March 2005 marked the end of an era.
Efforts to revive his distinctive sound and style faltered, including attempts by his brother Watson, who at some point set up a band and held a couple of shows.
Other musicians who had played with Matavire—David Mabvuramiti, Chamunorwa Nebeta, Daniel Gonora, and Gulf Makina, who might have been better placed to carry forward his style, did not adopt the same style. Instead, they pursued other styles, detached from what defined Matavire’s music.
Chamunorwa Nebeta formed Glare Express and made a mark with his fast-paced sungura beat and packed lyrics. He achieved moderate success with hits like “Tambai Mese Mujairane”, “Uripakaoma”, and “Mushirivindi”. However, his efforts were cut short by his death.
David Mabvuramiti turned to gospel music and doubled as a pastor in ZAOGA after Baba Guti prayed for him and restored his sight.
Gulf Makina formed his own Chinyavada Sounds but did not adopt Matavire’s style, which, according to him, requires a musician who is poetic and capable of executing dialogues perfectly.
Daniel Gonora formed Gonora Sounds, but mainly performed in the streets of Harare and did not establish a viable band. He at some point recorded with Diamond Studios.
Matavire’s children—Kudzanai, Wadzanai, and Dzidzanani—chose not to pursue music, leaving the legacy in limbo.
The situation was so dire that even his royalties went uncollected for years, and the Zimbabwe Music Rights Association (ZIMURA) had a difficult time identifying someone to collect the money. When they finally located his children, some of the money had lost value due to the currency chaos that Zimbabwe had gone through.
After all he had done, the joy, the moments, and the sweet statements, that even shaped the language Matavire created during his time, his empire collapsed, and with his death, his performances disappeared from the shelves.
His exit from the stage marked the end of an era, as the band disbanded and his music faded into nostalgic playlists.
Yet iconic sounds like these are Zimbabwean and should be preserved and carried forward.
This unfortunate trend mirrors the fate of many Zimbabwean music legends, such as Marshal Munhumumwe, Marko Sibanda, and Cephas Mashakada, whose unique sounds faded with their deaths.
Knowledge Mbavara, however, is determined to change this narrative.
By assembling a ten member band that includes veterans who performed with Matavire—such as bassist Claudius Mukarakate, vocalist Shanangurai Gwama, and backing vocalist Sarudzai Mubaiwa—he aims to preserve the distinct sound that made Matavire a household name.
Mbavara sees his mission as more than a revival; “it is about ensuring that Matavire’s legacy and the cultural heritage he represents continue to inspire future generations.”
He hopes to see music lovers enjoying music again through the same style that was used by Matavire, including the replication and rejuvenation of his signature sounds.
“I was inspired by Matavire mbune. I have the same voice and sing exactly like him. It’s a coincidental inspiration that compelled me to bring back the same style. Fans had long been starved of that taste, which we are now reviving,” he told this publication in an interview.
Indeed, Mbavara’s voice, remarkably similar to Matavire’s, is his greatest asset. However, assembling and managing the band has not been without challenges.
“My band members are scattered far and wide, making regular practice a challenge—unlike the days at Jairos Jiri, where members lived and worked at the same place. But what is important now is to ensure that we do our rehearsals consistently,” he noted.
“As you know, the world is dynamic, and tastes in music change over time. We are blending our music with modern sounds while maintaining the essence of Matavire’s legacy.” added the new Dr Love.
A look into Matavire’s discography reveals some demonstration of top level creativity.
For every subject that Matavire chose to sing about, he produced masterpieces, and this is the challenge that faces Mbavara. This may also explain why the music style has not been adopted by other musicians.
In “Kusaziva kwakafanana nekufa”, Matavire reflected on his blindness, describing it as a God-given gift to create music. In this powerful song, he portrayed a blind man’s prayer under a tree, lamenting his condition, with God reassuring him that everyone has a gift from which they would earn a living—his being music.
In “Mapanga Muhomwe”, Matavire tackled armed robbery, exposing criminals’ tactics and warning the public about nightclub dangers. His storytelling served as both entertainment and a cautionary tale.
Through “Akanaka Arara” (A Person Is Good When Asleep), he highlighted marital discord, infidelity, and disrespect, humorously suggesting that a man might find more comfort among goats than in a chaotic marriage. Lines like “Oncological species of identical plumage perambulate in close proximities” displayed his linguistic wit.
“Gwendo GwaGugwa neGugwe” narrated a man’s ritual punishment for adultery, using vivid imagery of a swollen stomach to caution against immorality, while in Gakanje (title track), he used the crab metaphor to encourage parental responsibility, urging parents to lead by example as children emulate their actions.
Songs like “Zungura” and “Yakauya AIDS” explored the complexities of prostitution and HIV/AIDS. In “Zungura”, Matavire dramatized a woman’s journey into prostitution, unprotected sex, and eventual HIV diagnosis. These songs emphasized safe sex practices and social awareness.
Like Matavire, who composed songs speaking to a variety of themes, but mainly critical issues like morality, public health and the gospel, Mbavara’s discography follows similar pattern.
In the gospel arena, Dr Love had beautiful gospel songs like “Umthombo wegazi” and “Kana Denga Razaruka”. On the other hand, Mbavara has composed gospel tracks like “Mwari Musiki” and “Zorora Wawana”.
Love, fidelity and morality are demonstrated in songs like “Makazvikanyira” which critiques a woman with children from different partners, using wit to explore responsibility and societal judgment. The song falls in the class of Matavire’s Zimbe Remoto.
“Nhubu Yerudo” is a reflective piece, largely lamenting failed love. The song incorporates Shona proverbs to enhance its lyrical richness.
In “Vabereki Vedu”, Mbavara emphasizes caring for one’s parents, performing in Shona and Ndebele to broaden its appeal. He transitions into a dialogue about drug abuse, highlighting its dangers. His poignant line, “Parents can take care of eight children, but eight children often fail to take care of two parents,” underscores the song’s depth.
Another gem, “Hariputirwi”, narrates a tale of infidelity involving a man discovering his partner’s betrayal. The song’s humor and use of English, Shona, and Ndebele make it both engaging and relatable.
Will Mbavara sustain his charm, captivate music lovers, fill venues, and revive the glory days of Dr. Love?
Only time will tell, but his efforts thus far are a testament to his unwavering passion and vision, laying a strong foundation for what’s to come.
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