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THE GIFTED SINGER WITH STRIKING CHARM

Fri, 08 May 2026 11:00:00 +0000

Tall, light in complexion, and handsome, Ignace Mpoyi Kanyinda had a charming look that made him a star attraction in all OK Jazz (OKJ) concerts that he graced. Women scrambled for space to catch a closer glimpse, while some screamed in excitement. That wasn’t all about Djo Mpoyi, however. Behind the looks was a wonderful singer with an expressive high tenor that uniquely laced compositions with emotion.

Bolingo ebeti ngai fimbo, oh mama ah, (This love is battering me) Ngai naleli eh, oh mama ah (It makes me cry) Nazangi molongani, oh cheri eh (Deprives me of a confidante)

This is an excerpt from the song “Nabali Misere,” which translates to “I am married to misery.” These words wouldn’t have captured the theme so perfectly if they were sung by another vocalist, because it took Djo Mpoyi to bring out the true emotion in a song. In this case, he clearly conveys the frustrations of the married woman.

Examples abound. The song “Mbongo” was composed by Simaro Lutumba. It was rehearsed and performed several times with Ndombe Opetum on the vocals. It was Ndombe who had been identified as the lead vocalist for this solo piece, typical of other musical poems by Simaro. However, by the time the song reached the studio, Ndombe had already quit OK Jazz for Afrisa; thus, the task was assigned to the new kid on the block, Djo Mpoyi.

He didn’t disappoint. He belted his heart out in the song: “Nkelani nakeyi kobina lindanda ya Luambo, nazali na mvuka ya mutu te” (Nkelani, I am going to dance to Luambo’s guitar because I do not owe anyone anything.)

This line hammers the theme home. After discussing how money has become the focal point in life, with almost every activity revolving around it, it is only right for him to conclude by stating that dancing to Luambo’s music while owing no one money meant one is free. In a way, it suggests that debts can hold one captive and deny them the free will to enjoy themselves.

The same depth is found in the hit song “Kadima,” a poetic expression of affection for a woman, and “Mandola,” another poem by Simaro, capturing the realities of life in a philosophical composition. The same can be said of “Bolingo ya Moite Moite,” “Katebe,” and others.

In the song “Hommage à Franco,” this unique ability of Mpoyi comes into play even more prominently. The line urging sculptor Professor Maître Liyolo to create a monument for Franco Luambo Makiadi brings the reality of Franco’s death closer.

When the song was performed for the first time with the band, Mpoyi himself couldn’t hold back the tears. The same happened to Lukunku, the TeleZaire MC and Franco’s friend, who became too overwhelmed to handle the interview and had to hand over the microphone to Kayumbi. Lines like “Franco, oboyi nakuta yo, oboyi kozela samedi ngai nalingaki koya” wouldn’t have carried as much weight if they were delivered by another musician.

In the hit song “Celio,” he is paired with Malage de Lugendo in a duet so seamless that it is difficult for an untrained ear to realize that those are actually two voices alternating verses.

Mpoyi was born in Burundi on September 23rd, as his son Eric Mpoyi told Jabulani. Eric is also a musician and a gifted vocalist with a voice strikingly similar to his father’s. Although it was at OKJ that his star shone brightest, Mpoyi had made remarkable achievements long before joining. He was eventually brought to OKJ by Celi Bitshou, the Brazzavillan who played bass for both OKJ and Orchestre Veve.

Djo Mpoyi began his career as a teenager with Orchestra Jamal. This band was a "kindergarten" that nurtured several would-be superstars. Mpoyi also sang with Orchestra Saka Yonsa of Mbole Tambwe. It is with this outfit that he recorded songs like “Cheri Kazadi,” “Libala Ezangi Bolingo,” “Mayi Doda,” “Kumba,” and “Azalaka Occupée.”

He later teamed up with Lovy in his new band, Orchestre Super Lovy. Remember, Lovy, a founder of OKJ, had left Franco’s band in 1972 to form his own outfit. This band also featured Celi Bitshou. Contrary to the popular misconception that Mpoyi had joined another band after Lovy Du Zaire, the band actually rebranded to Kara du Zaïre. There, Mpoyi teamed up with Kiyika Masamba, solo guitarist Syran Mbenza, and bassist Pablo Lubadika.

While at Super Lovy, he composed a song called “Helicopter,” which was sung by Djo Mpoyi and his colleague Lukoki Diatho. The song became an instant hit, and Franco sent his scouts to trace the duo. This is how both Lukoki and Mpoyi arrived at OKJ in 1977. Mpoyi’s first assignment at OKJ was “Libala ya Bana na Bana,” a composition by Lola Djangi.

At OKJ, his career flourished. He teamed up with the "sharks of the ocean" that define Congolese rumba: Franco himself, Simaro, Josky, Aime Kiwakana, Papa Noël, Thierry Mantuika, Ndombe Opetum, and Gerry Dialungana.

Simaro, in an interview with Afriquechos magazine, recalled the recruitment:

“I really appreciated his vocal timbre. The day we were preparing to leave for Europe, I saw him enter with Diatho Lukoki at Un Deux Trois, and I told Franco, ‘Here is the singer I was telling you about.’ Franco asked me the same day to propose that he travel with us. In Brussels, during our first concert at the Salle Madeleine, Jo Mpoy gained a lot of success, especially among female fans.”

During OKJ’s first post-Franco concert, Lukunku Sampu described Mpoyi as one of the musicians who was very close to Franco. Tragically, Mpoyi died in September 1993 and was buried in Gombe Cemetery. Even with the subsequent emergence of top-notch singers, the DRC is yet to find such a rich tenor that soulfully delivers emotion in every note.

BY: JEROME OGOLA

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THE DEATH OF THE MASTERPIECE

Mon, 04 May 2026 23:00:00 +0000

Let’s be honest: your "Recommended" playlist is starting to feel like a dream you never asked for. You’re scrolling through TikTok, and your favorite influencer suddenly gets caught up in a massive public scandal that has everyone talking. Before the dust even settles, they’re dropping a "club banger" to capitalize on the drama. You hop over to the "Trending in Kenya" tab to see what’s hot, and every single track has that same shiny, predictable beat and a hook that starts before you can even take a breath. It’s not your imagination; we are in a tug-of-war between music that comes from the heart and songs made by a computer program. We’ve traded the "Slow Burn" for a five-second rush. Back in the day, a song was a journey that took its time to grow until you felt it in your bones. Now, music isn’t being written to move your soul; it’s being built to keep you from swiping to the next video. It’s the death of the masterpiece and the birth of "content."

If you think this is just an old-school opinion, the data proves it. Scientists in Italy recently looked at over 20,000 songs from the last 400 years, and the news was pretty sad. Music is literally getting simpler. When you map these songs out, modern hits look like a flat, straight line compared to the winding, exciting paths of the old classics. We are being fed musical mush because the people in charge think our brains are too tired to listen to a real melody. The digital attention economy has forced even the most gifted artists to moonlight as extreme content creators just to stay visible. Even if you have genuine talent, the pressure to go viral often outweighs the focus on the music itself. This has led to a spectacle-first approach where stunts and shock value become more important than the song. We see artists rolling in the mud, jumping off buildings, or performing chaotic stunts just to get noticed. It is a sad reflection of the struggle for visibility where artists feel they have to risk their dignity and safety just to make sure their voices aren't lost in the noise.

The most annoying part is how people become stars today. We’ve reached a point where someone with a lot of followers can become a singer overnight. Their fame guarantees the clicks, and a computer does the rest. With tools that fix every shaky note, anyone can sound professional, but there is a huge difference between sounding perfect and having a soul. We are drowning in music that sounds like a person but feels like hollow cardboard. Think about it like this: consider the humble chapati. Not long ago, a popular Kenyan politician made headlines by showing off a giant machine that can make a million chapatis a day. It’s fast and efficient, sure, but you wouldn't serve a machine-made disc to a guest you truly loved. You want the chapati from a real kitchen where food isn't just calories; it’s medicine. You want to see the flour on the hands and smell the charcoal because that rhythm of kneading dough by hand turns a simple meal into something that feeds your spirit.

Modern music has become that giant machine. It makes noise to fill the silence, but it doesn't provide soul nourishment. The kitchen of music—where a singer and a producer spent weeks fighting over a single drum sound just to make sure you felt the heartbreak—is being closed down for fast-food songs. Real music isn't something you just download; it’s a spiritual journey. The legend Fela Kuti once said that music is a spiritual thing and you shouldn't play around with it. When we treat music like just another product to sell, we break a promise. This spiritual weight is a universal truth that echoes through the foundations of the world’s major religions. It is an ancient recognition of how sound interacts with the soul. In the Christian scriptures, it is recorded that whenever the spirit from God came on Saul, David would take up his lyre and play, bringing relief and healing.

We see this same divine connection in Islam, where the tradition of Sama in Sufism uses music as a way of reaching spiritual closeness to God. In Hinduism, the concept of Nada Brahma teaches that the entire universe was created from divine sound, making music a path to enlightenment. Similarly, in Buddhism, the chanting of mantras aligns the mind with the frequency of the universe. You see this same power in African spirituality through Kilumi, the traditional music of the Kamba people. Kilumi isn't played for likes; it is played to heal. The drum is a sacred tool used to talk to the spirits to bring rain or help the sick. You can’t fake that with a computer program. There is a giant gap between a beat made by a software loop and the vibration of a real instrument played with intent. When a master plays, they are sharing their life with you.

We used to have giants who understood this. Take Franco Luambo Makiadi. He didn't care about your short attention span. He would lead his band through songs that lasted twenty minutes. The music was so beautiful and the feeling was so strong that it didn't matter what language you spoke. It wasn't just a song being pushed at you; it was a conversation. For a long time, this music lived on because it belonged to everyone. The history was kept in the rhythm, not on a server. As we move deeper into this digital world, we have to ask ourselves: Are we okay with being fed by a machine, or are we going to go back to the kitchen? To save our ears, we must learn to choose our medicine. Just as a pharmacy has different cures for different ailments, the history of music offers a wide variety of soul nourishment.

If you are grieving, find the blues or the deep cello of a classical master. If you need strength, look to the archives of the 1950s through the 90s—to the legends of Benga or Rhumba who cared more about the groove than the viral stunt. If you need peace, listen to the traditional chants and instruments that have vibrated for centuries. Be a fan, not a follower. Don't wait for an influencer to tell you what's good. Explore the history of the continent. When you understand where the rhythm comes from, you’ll recognize when the modern version is missing its heartbeat. At the end of the day, modern music is like a fast-food burger: it’s cheap and gives you a quick rush, but it never really satisfies. I’d rather have Tumbukiza. Give me that slow-boiled mix of meat and veggies that has been bubbling for hours. It’s messy, and it takes a long time to get right, but it heals your body and warms your soul. Music is supposed to be food for the heart, and our hearts deserve a meal that actually lasts. It’s time we stop settling for what's convenient and start looking for what's real. Choose your medicine wisely.

BY JEROME OGOLA

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MUKABI PAINTED HIS WAY TO GLOBAL RECOGNITION

Thu, 30 Apr 2026 10:10:00 +0000

The Dust Depo Studios at the Old Railways Museum in Nairobi wear a forlorn face. An unfinished canvas stretches on the stand, waiting for the brush to give it the final touches, oblivious to the reality that the man whose acumen graced the art has breathed his last.

The brushes, the paints, and the palette share the ignorance. Just like the canvas, they too have no idea that the man whose passion and skills turned canvases into marvelous paintings is no more and will not be visiting the studios again.

Sunset has come for the "barefoot philosopher" who walked without shoes in the studios, saying he couldn't reason well while wearing shoes.

Renowned painter Patrick Mukabi died last week at Kenyatta National Hospital after a lengthy battle with diabetes. Patrick, also known as Panye, was a towering figure in the country for his immense contribution to the field of fine arts, where he excelled as an artist, teacher, and mentor to many.

The veteran painter was born in Nairobi some 56 years ago. His parents worked for Kenya Railways. He was schooled in the same city, started drawing while young, and honed his skills at the Creative Art Centre with a basic illustration course, and later joined the Kenya Polytechnic, where he pursued a certificate in graphic design.

Patrick wasn't your ordinary painter. He was exceptional. His art spoke loudly. In the Cover Girls series, he brought to the fore the beauty of an African woman as captured in her chores, what can be described as her natural habitat. He drew them colorful and voluptuous, with emphasis on their curvaceous figures, clothed in colorful kanga.

Fine arts are far less appreciated in developing countries in comparison to music, comedy, and other categories. For one to rise to the top in this sphere is in itself testimony that he had no peers in the trade. He was, simply put, outstanding. His iconic works beautify Java centers across the country. His art has also graced various exhibitions in the country and beyond.

Apart from the Cover Girls series, he also excelled in drawing a musicians' series. This was inspired by his love for music. He did dozens of works that captured instrumentalists, i.e., guitarists, saxophonists, drummers, and others. He also used blurred lines to bring out the music.

Those hearts his art couldn't reach were possibly won over by his mentorship. His Dust Depo Studio was a drawing academy that mentored and nurtured many. In the studios, aspiring artists received materials and lessons in good measure.

His mentorship went beyond the studios. He also got involved in training new talents in schools, malls, and other venues. He also taught on TV, including Citizen on Saturdays and other stations. For this, it is highly likely that almost every Kenyan has encountered him in one way or another.

With his art beautifying airports, hotel walls, and other spaces in the country and abroad, Mukabi was on several occasions quoted as saying that his most treasured contribution wasn't even any of the drawings or paintings, but the impact he had in training and mentoring budding talent.

Demand for his skills also went beyond the boundaries of the country. He traveled abroad to more than 20 countries in Europe and elsewhere, honing the skills of budding painters. He became a global icon recognized for his contribution to art.

Unfortunately, with all this fame, when he became sick, friends had to step in for him, organizing exhibitions to raise money for his treatment. This possibly tells a story of how artists still struggle with the challenges of inadequacy to the extent of being unable to afford medication, despite their celebrity status.

His many students have been orphaned by his death. Jimmy Kitheka has been quoted as extolling the kindness of Mukabi's heart. He said that Mukabi would spare a shilling to buy materials for his students. He said he came to Nairobi with nothing, but Mukabi taught him how to use recycled materials and how to believe in his work.

A Facebook page dedicated to art mourned him with these words:

"A legend has put down his brush, but his canvas remains forever bright. His presence and artistry touched so many lives, and while his journey here has ended, his light continues to shine through the community he built and the artists he inspired. Eternal rest grants unto him, O Lord, and let perpetual light shine upon him."

His brush may dry with his demise, but just as his Facebook page remains alive with the colorful paintings of the Soko Soko series, his art will speak to the world, for the world, for long.

By Jerome Ogola

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SHOW ME THE WAY BY PAPA WEMBA LYRICS WITH ENGLISH TRANSLATION

Fri, 24 Apr 2026 08:00:00 +0000

Take me by the hand … Show me the way, I can go.
Take me by the hand … Show me the way

Ngai na bugui nzela eh
Po bo tikaki nga mosika eh
Yango na komaki se mitelengano oh
Koko lakisa nga nzela eh

I lost my way

Because you left me far behind

That's why I wandered aimlessly

Grandfather (mother) shows me the way

Ndege nini oh ngai oh, baninga
Na ko luka nzela ya bomoi
Po bato ya mokili mabe eh yo
Ba boyi ngai na zua lobiko oh

Friends why me

I lose the way of life

People are bad

They do not want me to succeed tomorrow

Chorus
Take me by the hand … Show me the way, I can go.
Take me by the hand … Show me the way

Take me by the hand … Show me the way, I can go.
Take me by the hand … Show me

Mbotama ya muana na tongo eh
Moyi ekomi tango ya kosakana
Butu eyinda, sango ya mawa
Mboka mobimba eko lela.

The birth of the child at dawn

The day is a time of celebration

Night comes with bad news

The whole village is crying

Ndege nini oh ngai, baninga eh
Na ko luka nzela ya bomoyi
Po bato ya mokili mabe eh yo
Ba boyi ngaï na zua lobiko oh

Friends why is it so

I have lost the way of life

People are bad

They've abandoned me, tomorrow I will suffer

Take me by the hand, Show me the way, I can go

Take me by the hand, show me the way...

Chorus
Take me by the hand … Show me the way, I can go.
Take me by the hand … Show me the way

Take me by the hand … Show me the way, I can go.
Take me by the hand … Show me

Take me by the hand … Show me the way, I can go.
Take me by the hand … Show me the way

Take me by the hand … Show me the way, I can go.
Take me by the hand …

By PAPA JUMA

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FROM STAGE TO PRISON TO STAGE: THE STORY OF NGUZA VIKING

Wed, 22 Apr 2026 16:31:00 +0000

A debate on musicians dabbling in crime, whether alleged or actually committed, cannot end without mentioning the story of Nguza Viking, aka Babu Seya, and his son, Papi Kocha.

Nguza and his son were both incarcerated in a Dar es Salaam prison in Tanzania for 15 years. The story drew the interest and attention of the entire region, with the international community seeking to intervene. To understand Nguza, we must introduce a band known as Maquis du Zaire. Nguza, also known as Field Marshal, was a lethal soloist with the band. His unique solo guitar can be sampled in the song "Wakati Nilikuwa Mdogo" from the Karubandika album.

Maquis du Zaire began in Katanga in the mid-1960s under the name Super Gaby. The band then shifted its base to Likasi before finally making forays eastwards. It is narrated that in 1971, they ended up in Tanzania, despite having commenced the journey with the intention of going to Uganda. Ndala Kasheba, a music giant of the day, is said to have influenced their final decision to settle in Tanzania.

In Tanzania, Maquis found favor with fans due to the talent in its ranks. The band became very popular and attracted even more superstars. At some point, the band had up to 40 members—a very large size by any standards. This was also a unique band because they ventured outside of music and invested heavily in land and property from the proceeds of their music. This was a path hitherto uncharted by other outfits.

The band was headed by sax player Tshinyama Tshiyanza and boasted an array of talent, including Field Marshal Nguza Viking, sax player Kanku Kelly, and bassist Banza Mchafu. Others included Tshimanga Asosa, King Kiki, Dekula Kahanga, Kasal Kyanga, Mutombo Lufungula, and many others.

Nguza was born Tshimbuiza Tshisenze in Katanga, DRC, on April 5, 1953. He began his music career in his teenage years and made a name for himself as an astute composer and guitarist with the band. He became a household name once the band settled in Tanzania. However, with the band's changing fortunes—crippled by a string of deaths and defections—Nguza remained active in the music scene and even introduced some of his children to music, capitalizing on his experience.

Nguza's tribulations began on the evening of October 12, 2003, when he was arrested alongside his three sons and a teacher from a local school, Mashujaa Primary School in Sinza. They were detained at Magomeni Police Station for five days without any charges being preferred, a development which would later open a Pandora’s box regarding the fairness of their conviction.

On the sixth day, they were taken to court and charged with defiling ten pupils from Mashujaa Primary School. The trial began in earnest. Among the loopholes later cited in the case was that the victims were never formally introduced to the court or even interrogated in camera. This aroused suspicion about the merits of the case.

The case proceeded to a full trial, and in 2004, the teacher and two of Nguza's sons were acquitted, while Nguza and Papi Kocha were convicted and sentenced to life imprisonment. Several appeal trials were thwarted by the prosecution, despite glaring anomalies—such as the fact that the charge sheet stated the two had infected the victims with AIDS, yet tests confirmed that neither was HIV positive.

Away from the court, the public seemed to have a clear picture of what was happening. In low tones, murmurs abounded that Nguza had been entangled in a love triangle involving a woman who was the wife of a prominent figure in the Kikwete administration. Talk was rife that the said person of influence had, through intermediaries, conveyed information to Nguza that he would be "dealt with" if he did not pull out of the relationship; thus, the whole trial process was viewed as a charade by a junior officer acting under instructions from above.

With no opening for freedom in sight, the lawyers representing the duo sought intervention from the African Court of Justice. Other means were attempted by the duo, who, while incarcerated, composed a song dedicated to Kikwete that pleaded their innocence and begged for leniency. This, too, bore no fruit.

The matter attracted attention again across the entire region as the African Court of Justice opted to explore the loopholes to seek justice for the duo. In 2017, this author wrote an open letter to John Pombe Magufuli, the then-Tanzanian President. The open letter was a cry from music fans, seeking the President's intervention and a possible presidential amnesty, taking a cue from the power of mercy granted to him by the country's constitution in the wake of allegations that a miscarriage of justice may have occurred.

The letter went viral on online platforms, and on the advice of some influential people in Tanzania, this author was asked to write an email to the official State House address. It is not possible to determine whether this caught the attention of the President or if it just amplified the calls for a review of the case that had hit a crescendo.

Later that year, President Magufuli released the duo via a presidential amnesty. He subsequently invited them to the State House, offered a public apology on behalf of the Tanzanian government, and pledged to compensate the duo for their wrongful incarceration. This was interpreted by the public as an admission of guilt by the authorities. The case of Nguza Viking and his son is often debated not just as a story of musicians convicted of a crime, but as a deliberate instance of someone in authority misusing power to disenfranchise the vulnerable.

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THE LES MANGELEPA FAMILY IN MOURNING

Mon, 13 Apr 2026 13:01:00 +0000

Twikale Kalonda, a renowned Congolese musician based in Nairobi, has passed away. News of his death was shared on social media by various fans yesterday. Speaking to Jabulani Radio by phone from Nairobi, fellow Congolese musician Bua Mangala ka Loboko Passie confirmed that Twikale died in a hospital in Lubumbashi.

Loboko, who previously played with Super Mazembe, noted that Twikale had struggled with a leg injury for a long time. Twikale was one of the key talents behind the success of Les Mangelepa. As a versatile guitarist, he played both bass and rhythm, featuring on rhythm guitar in hit songs such as "Mtukufu Moi," "James Osogo," and "Malawi Zikomo." His colleague in the rhythm guitar section was Lumwanga Mayombo, also known as Le Ambasadeur. Notably, on the album Millennium, Twikale played all three guitar parts himself.

Like many of his Les Mangelepa colleagues, Twikale originally moved to East Africa with Orchestra Baba National, led by Baba Gaston. He later performed with Les Mangelepa and several other bands in Nairobi before pursuing a solo career. During this time, he played rhythm for Moreno’s Pili Mswahili and established his own studio to further his work in music production.

Some of his former colleagues at Les Mangelepa include soloist Bwamy Walumona, who resides in Norway; saxophonist Tabu Ngongo, based in Japan; and Kabila Kabanza. While several of his contemporaries have since passed away, the band recently celebrated 50 years of existence.

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KOFFI OMOMIDE MADE HONORARY CITIZEN OF THE COMMUNE COCODY

Wed, 08 Apr 2026 01:48:00 +0000

On Saturday, April 4, 2026, in the Mel Eg Théodore room, the Deputy Mayor Jean-Marc Yacé elevated the internationally renowned artist, Antoine Christophe Agbepa Mumba, better known as Koffi Olomide, to the rank of honorary citizen of the commune of Cocody.
This distinction recognizes his immense contribution to the promotion of African culture throughout the world, as well as his major role in bringing people together through music. In his speech, the Deputy Mayor recalled the importance of recognizing and celebrating personalities who actively participate in the influence of African cultural values.

Highlight of the ceremony, the customary chiefs of Cocody carried out the symbolic induction of the artist, dressing him in traditional attributes, thus marking his integration into the local community.
Very moved by this honor, Koffi Olomidé expressed his deep gratitude to the Deputy Mayor, whom he described as a man of vision, as well as to the Municipal Council and all of his collaborators.

He also expressed the wish to settle in Cocody, saying he felt particularly loved by the Ivorians.
It should be noted that the ceremony took place in the presence of members of the Municipal Council and his wife, Cindy Le Coeur, all in an atmosphere marked by solemnity and cultural celebration.

By Captain Shaddy Shihusa

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SHILINGI YAUA LYRICS BY SIMBA WANYIKA

Mon, 06 Apr 2026 12:54:00 +0000

Ama kweli dunia ooh dunia
Ooh wake kwa waume
Baba ooh twasumbuka
Enzi ya Adamu na Eva
Dunia ilikuwa nzuri
Enzi ya Adamu na Eva
Dunia ilikuwa nzuri iyaah
Lakini dunia ya leo
Bila kuwa na pesa
Hakuna sauti mama
Ooh kusikika iyaah
Iwe mwanamke au iwe mtoto
Iwe mzee kila mtu mawazo yake mikopo
Aah Stella

Sasa ninashangaa ninapoona dunia
Kila mtu yuko mbio kutafuta shilingi
Kila mtu yuko mbio kutafuta shilingi iyaa
Hata ukiona hapo *Mbindo anapohangaika
Mawazo yake yote yako kwa shilingi iyaa
Uwe na sura nzuri baba ya kupendeza
Kama huna shilingi mambo yako ni bure iyaa
Mapenzi ya zamani yalikuwa ni bure
Zamani za kale mambo yalikuwa shwari
Lakini kisirani shilingi baba ikaharibu
Sasa hakuna cha bure dunia baba ni shilingi

Hata mtoto mchanga yule aliyezaliwa leo
Anapolia mama eeh mama eeh mama
Hebu tupa shling pale atakuonyesha pengo
Ama kweli shilingi ni sabuni ya roho
Hata kama una mawazo shilingi itakusafisha roho
Aah jamani
Hata yule mnyama yule wa siku hizi
Hebu tupa shilingi pale pale baba atakurarua
Iwe mzee wa miaka baba hamsini
Bora awe na shilingi warembo watamwandama
Na wewe kijana utaachwa hapo hapo iyaa
Ooh jamani

Shilingi yaua ooh tena maua
Shilingi yaua ooh tena maua
Shilingi yaua ooh tena maua

Shilingi ni tamu baba usiidharau
Hiyo shilingi moja inaweza kuvunja mlima
Hiyo shilingi moja inaweza ulale pakubwa
Usidharau shilingi baba yaua
Mama ooh ooh

Shilingi yaua ooh tena maua
Shilingi yaua ooh tena maua
Shilingi yaua ooh tena maua

Katikati ya mapenzi bila shilingi ni bure
Weye useme yote bila mapesa ni ngumu
Hata uwe na sura ya kupendeza baba ni ngumu
Bora uwe na shilingi mambo yako yatanyooka

Shilingi yaua ooh tena maua
Shilingi yaua ooh tena maua
Shilingi yaua ooh tena maua

Shilingi itakufanya weye baba uimbe
Tena shilingi itakufanya uwe ofisa
Hata ukiwa na miaka ishirini na tano baba
Pale pale utaitwa mzee
Pale pale utaitwa mzee wa shilingi

Shilingi yaua ooh tena maua
Shilingi yaua ooh tena maua
Shilingi yaua ooh tena maua yeeh

Ooh
Shilingi yaua ooh tena maua
Shilingi yaua ooh tena maua
Shilingi yaua ooh tena maua

Hakika shilingi ni kitu baba bora
Hiyo shilingi moja itakufanya baba usipande basi
Usidharau shilingi baba yang’ara
Katikati ya roho binadamu baba yang’ara iyee

Shilingi yaua ooh tena maua
Shilingi yaua ooh tena maua
Shilingi yaua ooh tena maua eeh

Ukitaka chochote dunia baba ni shilingi
Ukiwa na mpenzi wako ooh maneno tupu
Hayavunji mfupi wewe bwaga shilingi mezani

Shilingi yaua ooh tena maua
Shilingi yaua ooh tena maua
Shilingi yaua ooh tena maua

Mambo yafike magumu hayapitiki
Kati ya mapenzi hata useme mazuri
Lakini ukiona mwanamke anapita vile na vile
Weye toa shilingi juu weye utakubaliwa sana

Shilingi yaua ooh tena maua
Shilingi yaua ooh tena maua
Shilingi yaua ooh tena maua iyaah aah

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KABAKA: THE KING OF TWIST

Thu, 02 Apr 2026 16:02:00 +0000

“Msichana wa Elimu” is a wonderful track by Daudi Kabaka, backed by his Equator Sounds band colleagues and recorded at Equator Sounds. Although he recorded it twice, the original version is a superb song with a great melody and excellent guitar and saxophone work. The theme is also catchy, though it has been overtaken by time.

A woman should not get married simply because society wants her to, or because she has reached what is considered the “right age” for marriage. “Mbona watoto wa nyuma yako wameolewa, wamekuwacha ukihangaika?” (How come your younger siblings are all getting married before you?)

Apparently, those who dropped out of school to start families are viewed as achievers in this context, while she who worked hard in class and even pursued further education abroad becomes a subject of ridicule. If Kabaka were alive, maybe we would ask him to take this wonderful song back to the studio, revise the lyrics, and align them with present-day realities. Otherwise, a contemporary mind would advise “msichana wa sura nzuri” to only get married when she is convinced it is the right decision for her, and not because anyone expects her to.

Again, discussants in a marriage discourse rarely agree on every detail. Whereas marriage has worked perfectly well for some, for others, it does not. As such, there has never been a consensus on matters of marriage, thus providing yet another angle from which to approach the debate. The above excerpt is an opinion this writer gave in response to an online debate about “Msichana wa Elimu.” In yet another debate on the song “Bachelor Boy,” he wrote this:

“A popular tale chides struggling young men, noting that while other old men were seriously prospecting for wealth in the city and acquiring plots, their grandfather was busy twisting his legs to the dance craze of the day, popularly known as twist. To me, this claim seems to point an accusing finger at Kabaka’s song ‘Bachelor Boy,’ and specifically his clarion call: ‘Bachelor boy wenzangu, twisty, twisty.’ This song also reveals another side of Kabaka. It seems he expected the ‘msichana wa elimu’ to get married before she grew too old, while he himself could not marry because ‘mimi siwezi kuwacha raha za mjini.’ Isn’t this an advocacy for recklessness? A masculine society, so rigid toward the girl child, yet very willing to bend and accommodate the excesses of the boy child.”

These two anecdotes showcase how the musician Daudi Kabaka managed to set the agenda by composing songs that would inform national debates in online forums many decades after his death. Kabaka was a social critic who used his music to address matters central to society’s moral fiber, and that is what earned him the moniker “Mtoboa Siri.” That was not his only moniker; he was also referred to as the King of Twisty.

His rise to this throne is attributed to his immense contribution to the genre, which had evolved at Equator Records, owned by Charles Worrod in Nairobi. That he was the King of Twisty is not debatable. It is so certain. He excelled in the era of the music genre coined by Charles Worrod, the English producer regarded as the father of the genre, who also owned Equator Sounds, a band housed under Equator Records in Nairobi.

Equator Sounds was established in 1960 when Charles Worrod bought East African Records and Jambo Sounds, then amalgamated and rebranded them into Equator Records. This recording house had a band known as Equator Sounds, having rebranded from Jambo Sounds. It was one of the pioneer bands in the country and featured the services of talented musicians such as Daudi Kabaka himself, Nashil Pichen, Fadhili Williams, Peter Tsotsi, George Agade, Bernard Ayuya, among others. All these were fully professional musicians.

Charles, a Briton, came to Kenya from South Africa. It is from the Zulu dance “kwela” that he borrowed elements, blending them with an American twist and also incorporating aspects of East African music to come up with a very popular genre known as twisty. Having been a central pillar in both the studio and the band, Kabaka assumed the kingship of Twisty. He made several very popular recordings during this era and also played guitar in many other songs within the genre. He played solo guitar in “Angelike Twist” by John Nzenze, among many others, and also mentored him in guitar playing.

Some of the most well-known songs, like “Bachelor Boy,” are his compositions, recorded by Equator Sounds. Others include “Kazi Ngumu,” “Mie Kabaka,” “Safari ya Nigeria,” “Amlofa,” “Kilio Ng’ambo Kwetu,” and “Safari ya Tabora,” among many others. Worth noting is that he also recorded some of these songs in rumba versions. Twisty became a very popular genre among urban sophisticates in the 1960s, making Kabaka a superstar and a household name. Other notable names in the genre included John Nzenze (also known as Amutabi), Isaya Mwinamo, Reuben Shimbiro, and George Mukabi, among others. Equator also enjoyed an elaborate distribution network across the region; thus, all the songs under its label enjoyed popularity beyond Kenyan borders.

While researching Ochieng Kabasele’s memoirs, the pivotal role Kabaka played in the country’s music scene became evident. One evening, Kabaka was passing by Jericho and noticed some young men practicing. He stopped and became interested upon noting how good they were. Their leader was a 17-year-old Ochieng Kabasele, a Form Three student at Pumwani Secondary School. Kabaka took the young man to Equator Records, and that is how Kabasele’s first four songs—“Naftali,” “Nyak Konge,” “Lek,” and “GK”—were recorded.

Among the musicians who participated in the recordings was Kabaka himself, who played solo guitar. Gabriel Omollo, who later worked with Apollo Komesha, played bass, according to Babu Kabasele. Kabaka’s role in the evolution of Kenyan music was so significant that some consider him the father of Kenyan music. Songs like “Harambee Harambee,” the country’s unofficial independence anthem, were his compositions, as were other iconic songs like “Msichana wa Elimu,” which opened a can of worms with speculation that Kabaka may have had a specific person in mind while composing it.

Kabaka’s team at Equator Sounds would later become big names in their own right. Thus, dozens of the country’s pioneer musicians were, in one way or another, linked to him. Daudi Kabaka was born in Uganda in 1939. However, he relocated to Nairobi at a young age with his father, who worked for the East African Railways. He was named Daudi Kabaka after a Baganda king who had died that same year. He joined Equator Records, then known as Jambo Records, in 1959. His death in 2001, at the age of 62, brought the curtain down on the illustrious career of one of the most impactful musicians in the country.

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HEALTH CONCERNS FORCE KEITA OUT OF A WEEKND GIG

Tue, 31 Mar 2026 10:55:00 +0000

Salif Keita withdrew from the Montreux Jazz Festival in Franschhoek, South Africa, due to health reasons. The concert had been scheduled for this weekend.
The news that broke the hearts of fans was delivered through a statement to supporters:

“Dear fans of Salif Keita, It is with deep regret that we announce the cancellation of his concert scheduled for this weekend in South Africa due to an unexpected medical emergency. Salif Keita’s health is our top priority. He is currently receiving care and taking time to rest and recover. We sincerely appreciate your understanding, patience, and continued support during this time.

Salif Keita wants to reassure his fans that he looks forward to returning to South Africa and will be back as soon as he has fully recovered.” Sources intimated to Jabulani that the 75-year-old Malian superstar is currently recuperating after undergoing an unspecified medical procedure. It is remembered that in February this year, he missed the Sauti za Busara in Zanzibar owing to what the organisers referred to as health complications.

Keita, also known as the “Golden Voice of Africa,” is a revered music icon across the continent. He was born into a royal family and with albinism, but shrugged off ostracism to pursue his ambitions and become a global star. A pioneer of Afropop, he successfully blends American pop with West African folk influences.

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ELIAKIM ROGO: A NEW VOICE IN LUO RUMBA

Thu, 26 Mar 2026 20:40:00 +0000

Gem, in Nyanza, is a natural home of music talent. This is the very epicentre of the Benga earthquake that shook the entire country in the 1960s and 1970s. A galaxy of superstars, who made it big playing for various bands, came from the region that is in the current Siaya County, formerly Siaya District.

As much as the emergence and dominance of the neighbouring Alego in matters academic is attributed to the strictness of a colonial chief by the name Odera Kang'o, who cracked a whip on locals to take their children to school, it is difficult to pinpoint one factor that can be considered significant in the region's success in music.

It is from Kathomo in Gem that Eliakim Rogo, a new sensation in slow Luo music, was born some four decades ago. Eliakim, who draws inspiration from the late Ochieng’ Kabasele of Lunna Kidi, has recorded several albums comprising slow-tempo love ballads and sentimental recordings that mirror the works of some Congolese greats of the past decades.

His songs are in a class of their own. Some of the popular ones include "Caro Nyathii Jobondo." This is a love song dedicated to a spouse, whom he poetically refers to as "Nyar Kaocha," which means daughter of my in-laws.

"David Bondo" is a song in tribute to renowned Radio Ramogi presenter David Bondo, while "Jerome Ogola" is a song he composed in tribute to yours truly, the author of this article, whose contribution to the growth and development of music in this region he recognises and lauds in the song. The song “David Bondo” has a saxophone run from the beginning to the end, an arrangement unique to a few songs, as is the case in "Ndaya," a composition of Mayaula Mayoni, which features female singer Mpongo Love on vocals. The sax in “Ndaya” is done by Empopo Loway.

"Mapenzi Ya Pesa," yet another of his hit songs, is themed on love. The song retains his trademark tempo with exhilarating guitars by one of Kenya's most talented guitarists, Ramji Solo, who also doubles as the producer. Ramji plays his guitar like the legendary Burkina Faso of Wenge Musica. Other songs like "Osiepa" and "Safari Ya Mapenzi" are equally good and popular with listeners, if the responses by vernacular radio stations are anything to go by.

Papa Eliakim, as his stage name goes, is a late entrant in music, having chosen teaching as a career before finally being unable to resist the nagging allure to join music. Having grown up in Kisumu, a lakeside town known for its vibrant music industry and colourful nightlife with numerous joints featuring live bands, he grew up with an interest in music naturally inoculated in him.

The first-born among six siblings began his educational journey at Manyatta Primary School before joining Nyamasaria Secondary, where he sat his O-levels, before travelling to Dar es Salaam and enrolling at Aga Khan University for a bachelor's degree in Education.

Just like Dr. Nico Kasanda Wa Mikalayi, who veered off into music after beginning a career as a technical school teacher in Kintambo, and Ntesa Dalienst, who quit the classroom for the microphone, Eliakim taught Kiswahili and Geography at high school before quitting to pursue music as a full-time professional musician.

Eliakim, whose type of music has earned him a soft spot in the hearts of many music fans, holds liberal views on religion despite beginning as a gospel artist before switching to secular. In a conversation with this writer on the advantages of secular over gospel music, the musician, who lost his wife to illness last year, emphasised that the gospel industry is more saturated than the secular one.

Apart from his ability to create melodious compositions, Eliakim is also a gifted singer with a baritone that aptly captures emotions in his songs. The blending of Lingala and Swahili phrases in songs largely done in Dholuo rekindles the days of Ochieng’ Kabasele, who switched between the three languages with so much ease.

Older fans who enjoyed music by Ochieng’ Kabasele naturally find a successor in him. Eliakim performs in clubs and private functions both in Kisumu and Nairobi. With fans switching allegiance in preference for slower Luo Rumba, Eliakim is easily a force to reckon with in the current music industry.

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KARUBANDIKA LYRICS - ORCHESTRE MAQUIS ORIGINAL

Wed, 18 Mar 2026 13:00:00 +0000

Kama wewe ungenipenda, kwanini kunidanganya bwana wee
[If you had loved me truly, why would you lie to me]

Kujibandika madaraka sio yako bwana wewe
[You hang other people's titles on yourself]

Kama wewe ungenipenda, kwanini kunidanganya bwana wee
[If you had loved me truly, why would you lie to me]

Kujibandika madaraka sio yako bwana wewe
[You hang on other people's titles]

Nimesikia tetesi kuwa huna lolote hata kazi huna wee
[I heard talk that you have nothing, not even a job]

Unazurura mchana kutwa ehh, ukita kurandaranda mitaani eeh
[You wander around the whole day, up and down the streets]
Nimesikia tetesi kuwa huna lolote hata kazi huna wee

Unazurura mchana kutwa ehh, ukita kurandaranda mitaani eeh
[I heard talk that you have nothing, not even a job]

Kumbe hukuwa na uwezo wa kunioa ila kuniharibia maisha
[Apparently, you did not have the ability to marry me but to destroy my life]

Heri kuniambia ukweli ulivyo kuliko kunidanganya wee
[Better to be honest about your situation than to lie]

Nikuelewe vipi ehh, babu we, uaminifu wako uko wapi eh, baba
[How can I understand you, grown-up man, where is your honesty]

[Instrumental] Aah karubandika

Nikuelewe vipi ehh, babu we, uaminifu wako uko wapi eh baba
[How can I understand you, grown-up man, where is your honesty?]
Nikuelewe vipi ehh, babu we, uaminifu wako uko wapi eh baba
[How can I understand you, grown-up man, where is your honesty]

[Chorus]

Usinione bwege baba
[Don't think I am naive, my dear]

Kwa kukubali wito wako karubandika ehh
[For accepting your advances, Karubandika]

Haya yote ni matatizo yangu ni ya baa baa (??)
[These are all my problems, at the bar]

Nilitaka kujitumbukiza ndani ya moto miye/pole
[I was thinking of throwing myself into the fire]
Kumbe bwana yule hana kitanda wala shuka
[Realizing that man did not have a bed nor a sheet]

Pakulala hana, analala kwenye stendi ya basi
[He has nowhere to sleep, so he sleeps at the bus station]
Pakulala hana, anakesha kwenye kituo cha kuunda
[Has nowhere to sleep, stays overnight at the construction centre]

karubandika yoyo, acha vituko we bwana
[Karubandika, my dear, stop these comedies, man]

Chorus

Nilitaka kujitumbukiza ndani ya moto miye/pole
[I was thinking of throwing myself into the fire]

Kumbe bwana yule hana kitanda wala shuka
[Realizing that man did not have a bed nor a sheet]

Pakulala hana, analala kwenye stendi ya basi
[He has nowhere to sleep, so he sleeps at the bus station]

Pakulala hana, anakesha kwenye kituo cha kuunda
[Has nowhere to sleep, stays overnight at the construction centre]

karubandika yoyo, acha vituko we bwana
[Karubandika, my dear, stop these comedies, man]

Chorus

Akiingia kwenye bar, kazi yake kuomba bia
[When he enters the bar, he is busy borrowing beer]
Akiingia kwenye bar, kazi yake kuomba bia
[When he enters the bar, he is busy borrowing beer]

Hana hata aibu, sigara pia anaomba
[He has no shame; he borrows even cigarettes]

Mitaani na kwenye mastoo kujitangazia kuwa yeye
[Across the streets and stores announcing that he]

ni mkurugenzi wa kampuni fulani, kumbe sivyo hivyo
[is the CEO of a certain company, yet it is not the case]

Chorus

[Instrumental] ~ marechal marechal, pasi ka kobanga..leta ngoma

Ze ze zenguela

[Instrumental]

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LIGHTS OFF FOR MARIE HELENE MBONGA MAKIESE

Mon, 16 Mar 2026 05:00:00 +0000

Mama Marie Hélène Mbonga Makiese will be buried on March 21, 2026, at Gombe Cemetery in Kinshasa. Marie Mbonga, who was the eldest daughter of Congolese musical superstar Franco Luambo Makiadi, died on March 8 while receiving treatment at a hospital in Kinshasa, according to her son, musician Rudy Luambo Makiadi. Born in 1957 and named after her paternal grandmother, Marie Hélène was the eldest of Franco’s sixteen children, one boy, Yves Luambo Emongo, and fifteen girls. The late Marie Hélène was married to musician Youlou Mabiala, who sang with Franco for many years.

Her father, Franco, one of the most influential African musicians, died in 1989 and was buried at the same Gombe Cemetery. His band TP OK Jazz was one of the largest in terms of personnel and produced a vast discography of around 3,000 songs, according to an estimate by his longtime saxophonist Isaac Musekiwa. According to a programme released by Rudy Luambo, a vigil will be held on Friday, March 20, 2026, beginning at 6:00 p.m. and continuing until dawn at Franco’s club, the Un-Deux-Trois building, located along Gambela Avenue in Kasa-Vubu, near the Stade des Martyrs. On Saturday, March 21, 2026, the body will be removed from the morgue of the Cinquantenaire Hospital at 9:30 a.m. and taken to the Cathédrale Notre-Dame du Congo, where it is expected to arrive at 11:00 a.m. A requiem mass will begin at 12:00 noon, after which the funeral procession will proceed to Gombe Cemetery for burial at 2:00 p.m. Thereafter, friends and family will again gather at Un, Deux, Trois.

Meanwhile, Jabulani Radio dedicated yesterday’s edition of the Rumba Fiesta programme to the memory of Marie Hélène. The special broadcast will be repeated on Saturday at 5:00 p.m.

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