ND Githuka: ‘’Ahiurania’ hit-maker shares his faith and passion for worship music

As a young boy growing up in OlKalou, Nyahururu, in late 70s and early 80s, ND Githuka, the Kenyan Kikuyu gospel giant behind hits like kahii, mawiko and the latest ahiurania remembers singing. He treasured a visitor who passed by their home with a radio cassette as he got to listen to music. His earliest musical inspirations then were Julia Lucy, the late Milka Muthoni, and later Hezeh Ndungu, Geoffrey Wachira of Jesu niwe Nitho and Joseph Mwaura of Muthini wa Ngai fame. 

 

Early Starts

Prior to being born again in 1992, Githuka treasured godliness, reading the bible and attending Sunday school. “I think that drew me to sing gospel,” Githuka told Kikuyu Musicians. He loved wisdom for living songs sung by Kikuyu Music veterans like the late Francis Rugwiti and Timona Mburu. “I admired their composing, musical arrangements and messages in the songs,” said Githuka. However as he grew up he identified more with Kikuyu gospel music, in particular songs by Joseph Mwaura. 

 

After completing high school and failing to get sufficient grades for university where he wanted to study to be a doctor, Githuka got a teaching job, at James Gichuru high school. He taught Chemistry, Maths and Biology for two years. His desire was to gain admission to Medical Training Center but the plan collapsed as well. Instead in late 1991 to mid 1992 Githuka was admitted to a police college and after completing his course was posted to Gilgil, anti-livestock theft unit as an officer. In Gilgil he got born again and somehow felt his musical gift begin to grow within him. 

 

Any singing doubts he had, were dispelled after Githuka attended a meeting by Evangelist Teresia Wairimu in Uhuru Park grounds in 1994. She preached on going for the extra and released a prophetic word towards the side Githuka was, in the crowd. The word was, some in the ground were called to be worshippers yet are not singing yet songs being sung in gospel music were written in 1940s. For Githuka, that grasped his spirit to an extent that the following morning out of nowhere, messages and songs came from within him.

He started composing and by 1995 released his debut album ‘Tua Itua’ while still a police officer. The album sold 700 cassettes and he admits there were challenges in producing it. As a naive start up musician, he didn’t know where to record but Joseph Mwaura guided him to a studio and shared tips on the recoding process. Still as Mwaura was busy and couldn’t guarantee to supervise him record all the songs, Githuka was left at the mercies of the studio staff. He recalls recording one song and after it was done, was informed it needed backup singers to be better. However since recording technology then could not allow adding of back up after one sung it got spoilt. 

 

Lull in Recording

With those lessons learned, he recorded his second album Decapoli in 1998 and did fairly better than the debut selling 3000 cassettes in two years. It was then Githuka felt something in his music was not working. He took a break from music to research on production and to grow spiritually. He dedicated himself to prayer and reading the word of God. “I kept myself busy writing songs, polishing them and praying for God’s perfect timing,” Githuka told Kikuyu Musicians. In the spell away from music in 2001 he composed Kahii and finished it. 

Leap of Faith in Kahii release-2005

In 2005 an inner voice from God prompted Githuka to record his third album. “The voice was diving and powerful,” he adds. Then he worked in the police as a telecommunications engineer a course he pursued in the police force. He also recalls the voice telling him his work as an engineer was nearly done, as he was called to be a worshipper. With those spiritual confirmations, Githuka approached a recording studio without money. “All I had Sh500 in my bank account,” he recalls smiling but he had unmovable faith. 

 

When the studio inquired from him, how he would pay, he told them His father in heaven would write him a check and clear the money once it matures. Githuka was adamant it was God’s timing. The people he shared with on his recording project gave and lent him money. In total, the amount spent was Sh150, 000 to record and shoot the videos. When Kahii album was released in 2005 its fame spread like wildfire after getting first played in Inooro FM (where he took the album) other Kikuyu radio stations like Kameme and Coro FMs picked it. It brought Githuka to the fore of Kikuyu Gospel Music. 

 

Later Kameme gave him the first interview. Kahii success ensured Githuka even repaid those he owed money even before their set deadlines. In a short while title song Kahii was known worldwide. Githuka recalls a non Kenyan Pastor, from Australia who somehow came across the album, and called him to ask permission to screen the song Kahii to his congregation. The pastor informed him though his flock can’t understand Kikuyu language, the song and video was powerfully inspirational. People in Athens, Japan and Saudi Arabia were also calling to compliment him. “Yet I have never been to those places and people don’t understand the language,” Githuka said. 

 

Composing the funny 'Ahiurania'

For Githuka, his composition process is unique for every song. He gets melodies and messages when resting, driving or in everyday life. He normally saves his ideas to polish them later. He remembers composing Kahii and Mbara almost seamlessly. In every composition the Bible guides him. His latest humorous monster hit “Ahiurania” (swindlers/cons) is a testament to that. Based on Psalms 55, the song is based on real life experience Githuka has lived through and at pains to narrate.

According to Githuka, he has had an experience where close family members or friends borrow money and promise to pay back but never do. “People who swindle You are not strangers, you even attend church with them,” said Githuka. Inspiration also came from Githuka, observing corrupt institutions and how they rip off Kenyans. The songs sum the solution to such con schemes as God when we pray for him to deliver us. He composed Ahiurania in 2010/2011 though the album was released this year 2013, and has so far sold 50,000 copies and due for launch June 9^th at St Andrews University Way entry free.

Combined he estimates to have sold almost half a million of all his albums in original copies but confidently estimates he could have sold 10 million but for piracy. He markets his music through wholesalers and distributors around Kenya or moves it in cars around estates.

Githuka views gospel music as a ministry requiring leading by the spirit of God and sustained by the word of God. Walking in humility is vital as its God the gift giver. “Once You know it’s the Lord who exalts You won’t exalt yourself but seek to be humble like Jesus as you seek to mature to his nature,” said Githuka. He adds that Jesus is the model of humility as He washed His’ disciples’ feet and we should mirror him.  

Such drive pushes him to perform without charging a coin as he reckons no one can pay for a God given gift. “The levels I have reached I seek to be a blessing and to bless others,” said Githuka. Freely You have received freely give to bless God’s people is his philosophy. Still he is thankful fans buy his music via Skiza tunes which enables him to continue in the music ministry. 

 

Stand Out Ministry Places

To date among the places he has ministered through music, Githuka remembers a crusade in Jabet Area in Marmanet, Kenya where he got there late at 7pm. As he sung, 2 stars in the sky moved and stood on sky above them. After finishing the song Kahii he did an alter call and 28 people gave their lives to Christ and kids were spirit filled. The meeting run up to 10PM yet people wanted to continue. He also recalls ministering in Kagio and Kiamutugu where smoke filled the room. “There was heavy anointing in those places,” Githuka adds. 

 

Future-Worship Teacher

As a passionate worshipper Githuka aims in the coming years to establish a school of worship along Thika Road to equip worship leaders and grow their gifts for years to come. He currently mentors upcoming gospel musicians like CB Sir. He is of the view that, in Christian music there is nothing like a gospel artiste; rather it’s a gospel minister in praise and worship. “What angers me is seeing a music ministry not winning souls to the kingdom, as it should like other ministries do like evangelistic, apostolic, pastoral and teaching,” said Githuka.

The father of two confesses there are people who after listening to his music called, asking to be born again and he leads them on phone. Afterwards he does follow up and connects them to the nearest churches so they can grow spiritually. For his public performances he uses playback to limit on expenses brought about by use of live instrumentation. He dedicates himself to composing though he admits he almost learned guitar but someone denied him an opportunity.

Though open to performing in the diaspora fans in outside countries he follows the Biblical Mandate in the book of acts of reaching his Jerusalem before going to Judea.

You can contact ND Githuka on +254 720 257 550 or kikuyumusicians@gmail.com

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Mary Teacher: ‘Njira Niuguka’ Songstress shares on her music and philosophy

Hailing from Gitige in Muranga, Mary Njeri Mwangi, popularly known within Kikuyu Music as Mary Teacher, represents a rare crop of Kikuyu artistes whose debut albums are hits. Yet, the journey to be considered the next great, among Kikuyu lady musicians has been laden with challenges and many life lessons that today inspire her lyrical composition.

As a young girl growing up in Gitige, she was in demand to sing in churches, competitions and countless school music festivals. “People always wanted me to sing,” she remembers. She loved listening to the song ‘Njambi’ by the Kikuyu music veteran John Ndemethiu as well as Queen Jane from a neighbor’s radio cassette. But after high school, her music dream dimmed when she got employed as a teacher in Dandora for the underprivileged children. It was a welcome relief as she had lived with her brother in Kibera after coming to Nairobi. . “Still I wrote songs for the children to perform” she remembers.

Teaching wasn’t her choice profession, she had hoped to be a nurse but lack of fees hindered her admission to college. For the next 10 years, she taught at various primary schools but quit, due to low pay to work at Njogu ini Restaurant. Teaching gave her the performing name Mary Teacher. Working at Njogu Ini, she was able to save money gradually for recording as her musical passion had reignited. To meet artistes she admired their music, she attended Mugithi to see them perform. On one such performance, she met Karis wa Kinyozi Poa in 2011.

After listening to Karis’ music, Mary loved the production quality of his first album. Come 2012, after saving enough money Karis guided her to studio Sawa. Studio producers, played for her records of famous musicians they have produced like Kariuki wa Kiarutara, Ndemethiu and others. She recorded her debut album, ‘Njira Niuguka’ which has hits like Whispers, Nganiria Baba and Mwanake Hikania. Among the songs Whispers, has received the most airplay on Kameme, Coro and Inooro FM. Afterwards, she learned of Interco Studios owned by Musaimo, which shot her videos.

Recording was a gradual process. “I would save a little then when enough record a song,” said Mary. In total the album plus shooting the videos cost her Sh200,000. She has no regrets for spending that amount, as she values investing in quality. She advices new artistes to care of quality if they want their songs to be played in various Kikuyu radio stations. “Use money to get money, don’t cut corners in a bid to save and have low quality albums produced at a cheap studio,” she said.

Her investment paid off well, after releasing the album early 2013, and took it to the three Kikuyu radio stations in a week, Whispers was getting vibrant airplay. “Radio producers only load quality music in their databases,” said Mary. She adds contrary to the view that getting your song on radio is hard, and radio producers aloof, if the song is good it’s played. She also advises new artistes to be patient “You can’t take a song to radio today and expect it on air tomorrow, don’t hurry the producers,” said Mary. Friends have also helped as they request her songs regularly from radio presenters.

Inspiration for her songs comes in many ways. Taking a walk can lead her to humming a tune randomly from nowhere. When it happens, she records it on her phone. She also listens to people in discussions or reads newspapers and if something interests her she composes. The mournful son ‘Nganiria Baba’ came as a result of something she observed as a teacher. Her young pupils, who mostly came from dysfunctional slum families ripped apart by illicit brews, had tragic stories.

Some of them, especially young girls served Changaa an illicit brew with their mothers to men, who in turn would sexually harass them. The parents also cared less on the wellbeing of their young daughters due to hopelessness. She recalls a case where a mother’s lover seduced the daughter, yet her mom was indifferent. As a result Mary wrote ‘Nganiria Baba’ a song about a daughter begging her mother to stop the father from making sexual advances to her. After getting the tunes, she looks for the message that best fits the mood of the tune she has saved.

“If the message is sorrowful, the tune has to carry the sorrow,” said Mary. She says Whispers a love song is slow and soothing to match the feel of love. In her laid back songs, she likes to spice them with humor depending on the songs theme. Composing is a gradual process for her and may take days to get the stanzas, phrases and ideas to be coherent in her songs.

Mary classifies her music as stage music that can’t be performed by CD playback but instruments. Live music, she says makes it possible for a musician, to put cheeky embellishments in the song, when performing in clubs to match the celebratory mood and engage revelers. It also helps a musician to be flexible depending on the region. “If in Mombasa I may spice my music with some Taarab,” she says. For live performances, she goes with 3 guitarists, drummer and one vocal back up. She charges, from Sh35, 000 to Sh50, 000 depending on the event.

Though content with her start in music, she says marketing herself as a performer and music is not easy. “I have to be aggressive in looking for club gigs,” she says. Money is also a factor in promotion, distribution and reproducing more CDs which are slow moving. So far, she has sold 500 CDs and VCDs hence preferring club gigs to CD sales. Societal perception is also negative to ladies like her in secular music. In clubs, when attempting to sell her CDs men are reluctant to buy, as when they take it home wives are suspicious of interactions with female secular musician.

“For us it’s a job I use to pass messages, there is no malice,” Mary says. Still when starting out, Mary tried to compose gospel songs which she admits was challenging compared to secular. “Gospel music is a calling I lacked words and inspiration,” she said. To date she has performed in over 10 venues, the most memorable being in Red Nova along Kiambu Road. Of the 10 reputable artists invited, fans kept asking for her to go back on stage. She attributes such good performances to being backed by skilled instrumentalists. So thrilling was it, she landed an invite to Meru County.

“I hope to get more of such invites even outside Kenya,” Mary said. She urges her fans in the Diaspora to invite her to perform and they won’t be disappointed and God will bless them for the support. She also thanks local fans for requesting her songs on radio.

Her family is very supportive of her career and she hopes in future to fully concentrate in it without having to hold another job. She finds juggling the two careers hard, since she requires time to be creative, practice, study and polish her musical ideas for her second album. To be a better and unique musician Mary, studies songwriting crafts of other established musicians like Ndemethiu to learn the skills to their success. “Don’t just write music study, research, listen and learn,” said Mary.

Besides the fans, she is grateful to Njogu Ini Hotel Management who assisted her financially and allowed her to shoot videos in their premises. She aims in 5 years to support and produce budding artistes in her studio. She urges established musicians to nurture upcoming ones and not rip them of their hard earned cash by sending them, to sub-standard studios to pocket extra cash. “I’ve heard of such cases It destroys their morale and sadly sets them back far,” Mary the mother of two said.

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Jacksam Kibandi: Arume hatuwezeki hit-maker, twenty album musical journey

Best known for the hit song ‘Arume Hatuwezeki’ driven by an opening killer riff, Jacksam Kibandi is one of Kikuyu Music’s most unique and gifted composers.  His songs, ooze with advice targeted at his listeners and delivered in forms of stories.  His songs put the audience in the shoes of the protagonists and antagonists in the song, to better convey the message.

Growing up as a young boy in Wanjohi village in Kipipiri Nyandarua, Kibandi had an inherent love of 70s, 80s and early 90s Kikuyu music.  In those eras DK Kamau, John Ndichu, were Kibandi’s musical role models. He also loved to play the harmonica. But it’s in 2002 Kibandi recorded his first album ‘wahenirio na thuiti’ having worked as a sign writer for a transport company for over 10 years.

Unlike many novice musicians starting out their music careers in the murky River Road Nairobi, Kibandi was guided by the one Mark Kamande wa Kioi.  After listening to Kibandi’s songs Kamande showed him the right studio to record his music and recommended instrumentalists to play in the record. To Kibandi, this was critical as he has witnessed new musicians get duped by low end producers and end up releasing a sub standard album. “If you lack a guide album quality can be compromised,” he said.

The song that however brought Kibandi some recognition within Kikuyu music scene was released in 2003 title ‘Nyumba cia town single 10 by 10.’ The song chronicles how people live in urban areas crammed in small single rooms.  However ‘Arume Hatuwezeki’ song brought Kibandi to mainstream Kikuyu audience in album 13 released in 2010. The song’s video features the late Olympic marathon runner Samuel Kamau Wanjiru dancing alongside Kibandi. The song has veiled references to the late Kamau Wanjiru rising from abject poverty to winning a coveted Olympic medal.

Inspiration for the song came after Kibandi compared current generation of men to those of yester years.  Kibandi observed current generation of men is spineless and not persevering when facing problems like former generations. “I see young men with potential drink and black out on trenches and it saddens me,” observed Kibandi.  He added real men stand up to challenges and faces them soberly which positions them to lead a home.  Tunes in his song come from emotions the songs message brings out when Kibandi composes.  However like many of his contemporaries songs come out of the blues sometimes especially when he is psyched up in a quiet environment.

“I like my songs to be unique but simple to the audience,” said Kibandi.  From what he composes he works with instrumentalists to play the song in the most fitting way.  Composing for him is a process he took 2 weeks on Arume Hatuwezeki after going through several drafts and perfecting.  “A song is like a sculpture, I revise it until there is nothing more to add then I book the studio,” he said. He uses his acoustic guitar to aid in compositions.

“It’s good for musicians to learn instruments,” he added.  Studying is also key for him as he composes and sees it important for a serious musician to have a library at home in order to improve his songwriting. Kibandi says his music is for live performances as even productions are done with live instruments. “Our fans want to hear a band playing like it sounds on CDs,” said Kibandi.

He has performed in venues like Blue Springs and Turacco Village along Thika road and Visa Place Rongai which he rates as a stand out gig he still remembers as it was packed and the fans energized.  During festive periods, Kibandi performs every weekend and during weekdays he runs his clothes business at Gikomba. He has also for the last seven years been the Chairman of the 200 member United Artists Welfare Group (UAWG) comprising of Kikuyu and Kamba musicians.

He has mentored artistes like Kuruga wa Wanjiku, Mukuria wa Njeri, Jeremy Kinyozi, Franco wa Subu and others.  His guidance has been on an artiste perfecting his songwriting skills. UAWG works to nurture new Kikuyu musicians and guide them to avoid them getting into pitfalls that plague new artistes in River Road.  Musicians in the group guide the budding ones on issues like song arrangements.  For Kibandi working with new artistes enriches even a veteran artiste as well. “If you ignore a new artiste, GOD may uplift him higher than you, and you may need him then,” he said.

Reflecting on his career Kibandi admits were it not for piracy, music can be financially rewarding. “If I sell one album 99 are being pirated,” he added.  Regardless he has of all his twenty albums sold over 100,000 copies.  His latest album is “Mwongoyo” currently a hit in all Kikuyu radio stations.  He laments how mentally taxing it is to compose only for someone to pirate. “No wonder musicians live long,” he adds with a chuckle.  According to him if a banana thief can be prosecuted why can’t a music pirate.

Nevertheless he urges Diaspora fans to invite them to perform overseas.  “We are open to performing if we get the chance,” said Kibandi. “It will grow the Kenyan economy and uplift our lives,” he said. As to how he has managed to be so prolific since venturing to music in 2002. Kibandi says he had written some albums in the early 90s but due to financial strains had to wait up to 2002 to produce them.  Scarcity of good producers also slowed him as well as these days musicians are the ones who market their music unlike in yester years.  “New album promotion and marketing is a challenge,” he said. 

The married father of three is of the view that the current music scene needs someone to scout all the studios looking for new albums to be played on the mainstream media. His aim is to emulate the veteran Kikuyu musician Wanganangu who released his first album in 1940s yet some of his albums have individually sold over 100,000 copies and his songs remain timeless classics in Kikuyu music scene.

To Book Jacksam Call Him on +254 722 516 673

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Kuruga wa Wanjiku: On musical stardom inspired by his daughter

Within Kikuyu music scene, Kuruga wa Wanjiku achieved cult status in 2011 after releasing ‘Niwanjiariire Kana’ (you bore me a child) song. The song got massive airplay on Kikuyu radio stations like Inooro, Coro and Kameme FM. In the rhythm riff driven song, Kuruga, praises his wife for bearing him a daughter named after his mother. The message resonated with many young parents and nursing mothers.

Early Starts

From a young age, Kuruga today 34 years, had musical passion growing up in Gaturi location in Kiharu, Muranga County. He recalls composing songs in Class 3, inspired by songs by Kikuyu music veterans like John Ndichu and DK wa Maria. Since at their home they had no radio, in evenings he went to neighbors homes to listen to 8PM Kikuyu radio Program that ran on KBC radio and played Kikuyu music.

However Kuruga’s musical awakening came after listening to the late Sam Kinuthia. “I used to hear him sing and go crazy,” he recalls. He considers Kinuthia a musical role model who spurred him to desire to venture to music fulltime. After initiation to adulthood, Kuruga composed a song “kuri na ugwati” for a fight AIDS campaign. The song won a competition organized for churches within his Gaturi location.

His raw talent didn’t go unnoticed. The late George wa Njaro who knew Kuruga from childhood, took him from the village in 2002 to Nairobi to be his backup singer. Kuruga did backup vocals for Wa Njaro’s 2002 monster hit Address. He also accompanied George Wa Njaro to entertainment joints. In that time he became aware of a studio to record his music and the instrumentalists to play on his album.

For Kuruga, these connections proved vital when he recorded his first album in 2004 dubbed ‘Ngima Kuru.’ George wa Njaro mentored him in recording process though his debut attempt didn’t hit. In between 2004 to 2011 when Kuruga released ‘Niwanjiariire Kana’ he recorded songs that still didn’t hit for ‘Kirimu kia Wendo’ and ‘Mugunda wa ikeno’ albums that never got released.

Composition Process

Inspiration for ‘Niwanjiariire Kana’ came when living at a one roomed house in Dandora. He stepped out to hold his young daughter as his wife washed dishes at a communal sink. The daughter was fussy never wanting to let his mother go and always crying. Instantly that struck Kuruga and he was filled with admiration for his wife and the important of mothers. In less than 15 minutes he had the tune and message for the song and composition was complete. “I can’t really explain it,” said Kuruga beaming.

Still there are songs that take days to compose. His latest hit ‘Mahua’ (flowers) receiving wide airplay on Kikuyu radio stations followed a similar trajectory. However according to Kuruga, Mahua song is a real life experience he faced. The song, is about a lady called Anne, he had asked on a date but never showed up even after he had bought her flowers and ordered chicken at a hotel. Kuruga booked the studio to record it even before he composed the song. To aid in composing Kuruga plays the guitar and views it vital for musicians to learn to play instruments. That helps him guide and correct other Kikuyu Kenyan Guitarists playing on his studio session.

Challenges in the journey and advice

In his musical journey Kuruga cites marketing and piracy as the greatest challenges he and his River Road peers face. Kuruga recalls as a new musician, after releasing his CDs and taking some to established shopping outlets some owners squandered his money after selling his records. “You end up becoming enemies,” said Kuruga. Piracy has also hit him hard, he estimates ‘Niwanjiariire Kana’ album has sold less than 2000 copies since release in 2011. He points to institutions established to collect royalties as swindlers as they get peanuts. Nonetheless he still intends to release his 4^th album early May 2013.

“I have prayed to GOD to bless my singing,” he said. His advice to budding Kikuyu musicians is to not enter the industry with money first mindset. “Take time to learn and create solid friendships first,” he said. Through that a budding musician learns from veterans how to navigate the Kikuyu Music industry, and not get conned. Regardless of challenges Kuruga intends to be in music for life even as he aims to get into commercial agriculture soon, since it won’t interfere with him, making music.

Besides music Kuruga wa Wanjiku does graphic design at his office, along Sheikh Karume Road Nairobi on weekdays. Barring January and February other months of the year he performs almost every weekend. “CD sales can’t sustain me,” he said. He charges Sh60, 000 to Sh70, 000 to perform when invited depending on the venue requirements. He performs live only using playback when in corporate road shows where playing live is impractical. He also owns JohnMaks Music studios.

Over time he has mentored young musicians, encouraging them not to quit when facing challenges. “You can do 5 albums and fail but who knows number 6 might be the one, that hits and uplifts your past stagnant records,” Kuruga said. He is also part of United Artists Welfare Group aimed at supporting current and budding Kikuyu musicians in River Road Nairobi.

Call to Diaspora Fans

He urges fans of Kikuyu Music outside Kenya to invite them to perform to support Kikuyu Music industry. So far his most memorable performance was at Turraco Village Juja along Thika Road, where he remembers revelers were ecstatic. “I sing songs people know for 1 to 2 hours,” said Kuruga. In the next 5 years he aims to buy land and build a huge studio facility, music college and with boarding facilities and hotel.

His assessment of the current music scene is that it lacks the 70s and 80s musical perfection as the musician carries all the burdens from funding, rehearsals, marketing of the album. As such there are lots of compromises that affect the final product.

To contact Kuruga wa Wanjiku write to jonmaks79@yahoo.com or call +254 725 976 511

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