His band is called “Sereetsi and the Natives” and the title of the album is Four String confessions. I don’t know why they call the other chaps the natives…I suppose they are natives of some land ÔÇô certainly they don’t reside in no man’s land. Sereetsi is a former Mmegi newspaper editor and a subsequent employee of BIUST who plays a guitar ÔÇô a four-string guitar, the same way that those who came before him, the George Swabis, Stambore,
Kwataeshele and others have done for many years. Sereetsi seems to be on a mission to bring the four-string guitar from the margins of contemporary music. With this album he has succeeded. The album follows Sereetsi’s 2013 book “The solo four string guitar of Botswana” which teaches guitar players the chords and melodies of a four-string guitar. Arguably, the last time we heard something this refreshing, we would have to recede to the times of Duncan Senyatso and Kgwanyape. Yes, this album is that good… only a little better, and a little more experimental. In my view, since Duncan Senyatso’s music, this is the most creative and unique album in its genre to come out of Botswana. It is an important addition to the Botswana arts and Sereetsi deserves much commendation for this contribution.
The album has eight songs, and this is what frustrates me most about this album. I want to hear more. I want twelve songs. The time for eight tracks is way past. Musicians must give listeners more. Thematically the album deals with a number issues which will leave many laughing, thinking and in utter bewilderment. The song Maitsetsepelo is the closest to Duncan Senyatso style. The song uses such rich lexical choice that one would assume that it was written by the legend himself. It is a song about being falsely accused with false evidence appearing to point to you. Sereetsi sings: O kile wa bona o pateletswa/O patikwa puo o sa e bolela/O kokometswa tiro osa di dira/O le sebodu o sa bodisa/Kobo bodupa o sa di itse/Mme bosupi bo go supa bodupa/Ba re o le-ja bana le matlho masoke/La go ja maswe la tlhoka kgodisa/Wa tlhoka bosupi wa tlhoka basupi.
It is however the song Robete that many would find most intriguing. It has a beat that is not overtly traditional though one could imagine traditional dancers dancing to it. It is a song about Abuti Rankokwanyane. O re tletse motho Gauteng. Motho o theka lesesanyane. Lo kile lwa se bona kae ngwetsi e bidiwa Robete. Mme a re ga se mosadi; nkoko a re se ke botlhodi. Botlhodi jwa nta ya tlhogo. The song is about a Tswana family confronted by a shocking scenario in which one of the family members is in a homosexual relationship and now wants to marry his partner. “What an abomination!” that’s how the family responds. Lo kile lwa se bona kae ngwetsi e bidiwa Robete. But Abuti Rankokwanyane is a man in love…o lela a ikgagolaka. A re Robete ke wa gagwe. A re ga a thethe o tsetswe jalo….and to play on the Setswana maxim “…pina ya Setswana ga e na bosekelo” Sereetsi adds: “…rato ga le na bosekelo”. That is not the only time that he appropriates Setswana expressions and turns them on their heads. In the second verse to express the homosexual act beyond doubt, he says “Konkodi ka ko pele ka ko morago kgomo di a tswa”. This is a reversal of the maxim: “Konkomi ka kwa morago, ka ko pele kgomo di a tswa” that is common amongst heterosexuals.
Another favourite of mine is the song “Ke boletsa mongwe”, a song clearly influenced by Facebook embarrassing statuses in which one who posts, claims to be asking the question for some unidentified beneficiary. The song deals with single mothers with many children from multiple fathers. It also tackles the embarrassing situation of fathers who abandon their children and in the process incur multiple fines for such irresponsibility. Therefore the question posed is “jo bothata bo a tweng?”. But remember dear reader that “Ga ke ipoletse, ke boletsa mongwe”. Framing the song around “Ga ke ipoletse, ke boletsa mongwe” is successful and gives the song focus and structure.
A song that, has received much airplay on radio more than any other from this album, is Headlines, Deadlines and Bylines. The title is wordplay on journalistic terminology. It is a lovely instrumental piece that demonstrates Sereetsi’s beautiful chord work.
The album is very well packaged. The cover is beautifully designed and the sleeve includes the lyrics accompanied by the general message of the song explained in English. Clearly Sereetsi is aiming at a larger market beyond the Tswana speaking listenership. Sereetsi has been performing many of the songs in this album live in and around Gaborone. The album is available in many good music shops in Botswana and innovatively, it can be downloaded from cdbay.com. This is especially important for those who may be unable to get the cd.
The music of Sereetsi is a wonderful addition to Botswana and Setswana music in general.
