Here John Nzenze is addressing the listener who hasn’t been to Nairobi, painting for him life like it is in the big city. He praises twist for being a hip and fashionable dancing style that is in vogue with young party-goers, but which he notes is disliked by the older generation. His underlying message to the parents of the young party-goers is that they had better accept it since there is little they can do to keep the youngsters from flocking Nairobi’s dancefloors to do the twist.

Twist Ni Nzuri - John Nzenze

Here Wanganangu is reminiscing on his lovely mother and how she died, describing their home atop a hill in Muchatha.

Maito Njeri - Wanganangu

‘Tamaa’ means craving other people’s possessions. In this song Nzenze is narrating the greed of a man who accepted bride price from two suitors who were interested in marrying his daughter. When the wedding day came both of them turned up demanding for the girl’s hand. Nzenze says that greed and craving for wealth ends up bringing shame and disrepute.

Tamaa - John Nzenze

This is a cover of a song credited to Olima Anditi. It is a song about Ogilo, a prominent villager during Olima's youth. At the time, a bicycle was a prestigious possession, since very few people could afford one, as did Ogilo, who used to ride around showing it off  to his fellow villagers. Olima praises Ogilo for buying him his first guitar, a gesture for which he will always remain indebted. 

Ogilo - Ochieng Nelly

The legendary Mukabi extols the importance of having a child of your own, reminding the listener that a child cannot be equated to a shirt which you can borrow from a friend. Essentially he is saying there are certain things that money just can’t buy. Here Mukabi is cautioning against joking with someone’s child, especially if you don’t have one yourself.

Mtoto Si Nguo - Johnstone Mukabi

In this song Osumba Rateng praises his wife Flora because of her beauty.  He recalls the good moments they shared together.

Flora - Osumba Rateng

This is an original composition by Ochieng Nelly. In this song Ochieng Nelly is passing his regards to his friend Ken.  He reminds Ken that he still recalls the good things Ken did to him.

Jakabeka - Ochieng Nelly

Here Nzenze cries over Angelike, telling of the pain her absence causes him. Angelike was his first love back when they were playing twist but now she is gone. He cries at the memories, begging her to return in order to give his heart some peace. He says their differences are not irreconcilable, that they can talk things over and go back to their old love.

Angelike - John Nzenze

In this song Mukabi narrates of the drama in his marriage, saying he married a beautiful woman against his family’s wish, and who is now causing mayhem in his household because she was mannerless. The woman has brought grief and loss to his household, breaking up his expensive crockery with her carelessness. The brothers have had enough and are demanding that she leaves to avoid further damage.

Kweli Ndugu - Johnstone Mukabi

In this song DK Mwai is telling of the loss of his love. He is asking her why she left, saying that they could have ironed out their differences if only she had given dialogue a chance. He is wondering if she knows what is in his heart; how much he loves her, telling her that whatever caused her to leave was nothing but hearsay from envious people.

Murata - I Love You - DK Mwai

‘Mukhana Mulando’ is a beautiful sophisticated woman. Here Shem Tube narrates what he witnessed at Awinja’s house. He cautions against marrying modern beautiful ladies before knowing them well. He tells young men that they might just be inviting problems into their lives by rushing into such marriages. He cautions that some problems in life are picked up on the road by unsuspecting victims. Before marrying a girl a suitor must do his homework and know her background, otherwise he will end up crying to his in-laws after the damage is done. 

Mukhana Mulando - Shem Tube

This is a cover of a song originally composed and sung by Olima Anditi. The singer praises Osare for inviting him to perform at his home. He describes how he took his guitar and boarded a lorry that drove through the valleys and forests to get to Osare's place. After the performance Osare gave him a lot of money and then the two of them went to the river to bathe. At the river, Osare told him to bend down, but Olima, who was blind, suspected that Osare intended to kill him by drowning him in the river. Osare reassures him to the contrary.  


Osare - Ochieng' Nelly

Tribe/Style: Ameru, Location: Nkuba, Date: 04.03.14

Muturi Wa Wandindi (real name: Geoffrey Mutwiri Mbaraka is from the Ameru ethnic community. Geoffrey plays the 'Wandindi' an instrument also known as the orutu or 'Tube Fiddle'. The audio for this track was recorded in Nkuba, central Kenya in March 2014. 

Muturi Wa Wandindi - Murumbeko

Tribe/style: Ameru, Location: Mariene, Date: 04.03.14

The Mariene Traditional Dancers are a group led by Simon Munuki which formed in 2003. They are from the Ameru ethnic community and their musical style is Kirarire and Authi. The lead singer wears 'Murungi' - an ornament on both sides of the arms which signifies a man of respect and authority, whilst the women wear green headscarves. Instruments include the Kibere (shaker) and the Coro (flute) which are played by Jeremiah M'Mbiwiriaft and Simon Murluki respectively. Recorded outside a church in Mariene in March 2014. 

Mariene Traditional Dancers - Wikiri

Tribe/Style: Kalenjin, Location: Kapsokwony, Date: 03.05.12

Teriet is a song to unite the Saboat. Richard Kirui is the guitarist and vocalist. This recording was made at Chesamis High School in Kapsokwony in March 2012. 

Teriet Band - Teriet

Tribe/Style: Luo, Location: Aluny Village, East Algo, Date: 29.11.11

Recorded in November 2011 in Aluny Village, East Alego, this is the Aloka Ohangla Group, led by Otieno Aloka. From the Luo ethnic community, playing in the Ohangla style, this group features the Orutu (a one stringed fiddle (and the Ohangla drums. The energy of the performance led us to record a magic moment of the Ohangla drumming. 

Aloka Ohangla Group - Nyar Karapul

Tribe/Style: Samburu, Location: Loiyangalai, Date: 15.05.11

The Ketebul Music team travelled to the 2011 Lake Turkana cultural festival. This is one of the recordings made of the Samburu tribe. 



Samburu - Chapitamen

Tribe/Style: Mijikenda, Location: Viga, Kwale County, Date: 31.03.11

Led by Matano Mwachiti and featuring the 'kivolti' (flute), the ZigiDigi Cultural Troupe were recorded in Vuga, Kwale County on the final day of the inaugural field recording trip, which us recording music on the Kenyan coast. 

ZigiDigi Cultural Troupe

Tribe/Style: Mijikenda, Location: Kilifi, Date: 30.03.11

4 the Mzinga are a group led by Alfonce Kazungu. The recording was made in Kilifi during our very first field recording visit to the Kenyan coast in March 2011. 

4 The Mzinga

Tribe/style: Mijikenda, Location: Sita, Date: 29.03.11

This is Singing Wells' first recording: we set up our mobile studio for the first time on March 29th, 2011 in the village of Sita, about 15 kilometres from the Malindi Coast. Led by Nyerere Wa Konde, the group plays in the Mwanzele style and is from the Mijikenda ethnic community.

Nyerere Wa Konde Music Club

Loops from our Singing Wells field recordings, made available for participants of the Global Influences Project.

SW Samples - Otacho Young Stars Shoe Shine Box 143BPM

SW Samples - Watmon Cultural Group 154BPM

SW Samples - Rubanga Kingdom Awach Boys 127BPM

SW Samples - Ohangla Drum Solo 146BPM

SW Samples - Adungu Cultural Troupe 111BPM

SW Samples - Nyatiti Group 158BPM

SW Samples - Kidinda Cultural Group 158BPM

SW Samples - Joginda Boys 116BPM

SW Samples - Hiari Ya Moyo 121BPM

SW Samples - Ekhunjwe Musical Group 153BPM

The Singing Wells is a collaboration between London based The Abubilla Music Foundation and Nairobi based Ketebul Music. 

Our goal is to record, archive and share the tribal music of East Africa for two reasons – to preserve and celebrate the musical heritage of the region and to help make this legacy relevant and fresh to today’s musicians. 

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