Music legend’s highs and lows

Joseph Kamaru and Daudi Kabaka. [File, Standard]

Long after seers like Mugo wa Kibiru left the scene in Gikuyu land, there is a general consensus that their legacy was picked up by popular secular musician Joseph Kamaru wa Wanjiru.

Some saw Kamaru as a philosopher, while to others he was the conscience of the nation; his songs would stir the society and cause ripples in Parliament.

Before Stetson hats came to be associated with Gikuyu artistes, there was Kamaru, the unrivalled maestro of Gikuyu popular music. He died from Parkinson’s disease aged 79 at MP Shah Hospital on Wednesday night.

Mr Kamaru, who liked to wear monochrome suits with cowboy hats, sang in a husky unique voice, belting over 2,000 songs in a career spanning almost six decades. He released such popular hits as Celina Witu, Tiga Kuhenia Igoti, Uthoni wa Mbathini, Cumbuca Ndari, Ndari ya Mwalimu, Kenya ni ya Ngai and Muhiki wa Mikosi.

Teacher’s darling

Such is the power and influence that Kamaru wielded that there was outrage among teachers in 1966 when he released Ndari ya Mwalimu, (teacher’s darling) which denigrated sexual predators in the teaching fraternity.

The highly critical song questions the necessity of an education system that looks the other way as teachers prey on their students and demand sexual favours in exchange for good grades. The theme recurs in Tiga Kuhenia Igoti (don’t lie to the court).

The tongue-lashing extended to alcoholics in Njohi Ndiri Mwarimu (alcohol has no teacher), philanderers in Andu a Madaraka (Makadara people) and in Ndari Ikumi na Inya (14 lovers), where he talks about the perils of having multiple sexual partners.

But it was the political hit JM Kariuki, released after the fiery Nyandarua North MP was assassinated in 1975, that catapulted Kamaru to national prominence after he castigated those behind the killing.

The provocative song that also paid tribute to JM almost landed the musician in trouble. After the death of President Jomo Kenyatta in 1978, President Daniel arap Moi came to Kamaru’s rescue and even travelled with him to Japan.

Kamaru released the song Safari ya Japan, earning the confidence of the President further, so much so that the latter urged Kenyans to shun foreign music, including Congolese beats, and support local musicians such as Kamaru.

Kamaru will also be remembered for producing the prophetic song, Chunga Marima, around the time then Attorney General Charles Njonjo was accused of undermining the Government of President Moi.

The song warns one to be wary of being betrayed by close friends.

Kamaru’s signature tunes were spiced with proverbs and wise sayings and it is generally agreed that the only Kikuyu benga musicians who come close to his prowess in this respect are Simon Kihara ‘Musaimo’ of the Mbiri Boys Band, Joseph Kariuki of Kiarutara Mwanzo Boys and lately John Demathew of Mukarara Les Les.

In the late 1980s and early 1990s, Kamaru made high music sales when he launched Kamaru Adults Only volumes, which were popular for their rich words and disguised vulgarity. Surprisingly, the Government never banned the songs and Kamaru went on to make a fortune before he quit secular music for gospel.

He began the second phase of his career by forming the Christ Campaigners Ministry, holding crusades in Kitale, Elburgon, Nanyuki, Thika and Nyeri. His exploits under the gospel label included Kimoe (take them), Mundu ni Muritu (man is a complicated creature) and Kamaru’s Christmas.

His song, Mahoya Ma Bururi (prayers for the nation) at the turn of the second liberation added fuel to the fire of the clamour for political change, culminating in the return of a multiparty state in 1991. But for that song, Kamaru who had given solace to the one-party machinery, once again became an enemy of the State, with his studio off Dubois Road in downtown Nairobi being visited regularly by security agents.

Kamaru arrived in Nairobi in 1957 aged only 20 in the thick of the Mau Mau rebellion. He lived in a tiny room in Kariakor and was enrolled in a secretarial college to pursue typing, book keeping and shorthand. His stay there was cut short by a nosy neighbour who reported to the authorities that he did not have an identity card.

Kamaru would later work as a cook for expatriate teacher Robert Bryan, earning at first a pay of Sh160. This enabled him to buy his first guitar at Sh30 in 1969. He recorded his first song with his sister Celina, Uthoni wa Mbathini, for which he was paid Sh10.

Uhuru’s wedding

“There never was a gîkûyû poet, song writer, musician like Kamarû wa Wanjirû...from the days of Ndari ya Mwarimû, Ndanuko Cia Mîtahato...we shall remember him fondly,” said lawyer Kamotho Waiganjo, one of his greatest fans.

President Uhuru Kenyatta praised Kamaru as a Kikuyu music legend who touched the hearts of music lovers with his classic hits.

Incidentally, Kamaru performed at President Uhuru’s wedding ceremony.

“He recorded nearly 2,000 songs addressing morality and offering life teachings. The songs stamped his status as a Kikuyu music legend who touched the hearts of music lovers with classic hits such as Gathoni and Charia Ungi,” he said.

Deputy President William Ruto said the music industry had lost a “vibrant performer who wowed audiences with his lyrics that spoke to morality and life lessons”.

“The Kenyan music industry is poorer. He (Kamaru) generated great vibe, which informed, entertained and celebrated the Kikuyu culture,” Ruto said.

Opposition leader Raila Odinga termed Kamaru’s demise as “the end of an era”. “Kamaru’s music inspired generations in Central Kenya and beyond to reflect deeply on profound political, cultural and social issues,” Raila said.

Retired President Mwai Kibaki said Kamaru’s talent is a living example of how potent art is in opening new vistas of human imagination.