East African Music - African Radio

CD Notes for the The Best of Kakai Volume 1.
Notes by Douglas B. Paterson, © 2002 Douglas B. Paterson

The Kenyan music scene is one of the most diverse and vibrant in Africa. However, ask any Kenyan which pop music style truly represents Kenya as a nation and there is only one possible answer: benga. Benga is a pop style with its roots in traditional rhythms, instruments, and melodies. Luo musicians from western Kenya brought the style to prominence in the late 60s but other cultural/linguistic groups in other parts of Kenya quickly developed their own localized variants. With its pulsing beat, interlocking guitars, extended solos, and rapid-fire bass, benga music (while having its ups and downs) has dominated the Kenyan music scene over most of the post-colonial period. Yet, as a "national" style, it is an interesting fact that very few benga performers have ever developed a national following. Most, singing in their own regional languages, have little appeal outside their own cultural/tribal groups.

Kakai Kilonzo is one of the rare ones whose benga music was enjoyed by people all across Kenya and beyond. To simple but catchy melodies, Kakai wrote lyrics that were interesting and relevant to the Kenyan experience. His songs offered social commentary, often with humor or bewilderment; songs that the common folk could relate to whether living in the cities or rural areas. Kakai wrote about relationships between men and women, between rich and poor, problems within families and between neighbors. He interpreted the political and cultural landscape to the delight of fans across Kenya. While he continued to write songs in his native Kamba language throughout his career, it was his adept use of Swahili in his lyrics that endeared him to a broader audience across Kenya.

Kakai's first recordings were released in 1975 as the Kilimambogo Brothers Band. In 1978, the group split into two with Kakai's group changing its name to Les Kilimambogo Brothers or simply, Les Kilimambogo.

Throughout the 80s, Les Kilimambogo flourished with nearly three dozen singles and at least ten cassette releases. Sadly, while still at the peak of his career, Kakai was taken ill in early 1987 and he passed away a few weeks later in February at the age of 32. Aside from Mama Sofi, released circa 1983, most of the other songs on Best of Kakai Volume One come from his last recordings during the period 1985-86. At this time, 45 rpm vinyl records were still a major part of the music business in Kenya. Thus, for recordings, songs were structured to fit the length of a 45rpm single. In Kenya, this meant that after about 4 minutes 40 seconds, the song would be faded out. However, it was a common practice to extend the song in a largely rhythmic and instrumental jam that would be placed on the B side of the disc. Usually both sides were done in one take with the band playing through a fade-out at the end of part one and then continuing for a fade-in to part two. All but the last song on Best of Kakai Volume One have this two-part structure.

Another interesting aspect of song construction is the distinct break that occurs after the verses have been sung. This usually takes place about 2 to 3 minutes into the piece. The rhythm or chord pattern may change and a different perspective on the subject might be voiced by the "public."

CD Notes writtern by Douglas B. Paterson, contained in The Best of Kakai Volume One, Shava Musik.
Notes © 2002 Douglas B. Paterson.

To contact Douglas Paterson, send email to DPaterson@aol.com

Last updated 27 November, 2006.