Thread by @paushinski

Marashi Ya Pemba.

You may [not] have heard of the Congolese guitar maestro, Ndala Kasheba. He may not be as famous (this is a great assumption on my part) but he is extremely important.

His most famous song, for our case, is Marashi Ya Pemba.

But his importance lies elsewhere.

Here it is.

In late 1982, he wrote a very famous song. One that you probably have heard and love very much too. He recorded it officially in 1983. And some of the biggest names in Congolese music scene crossed borders and sent agents to buy the song and all it's rights from him.

Ndala had by now established himself not only as a master guitarist, but an above the par lyricist. We can probably compare him to Kidum currently . As if that was possible.

By the time he was 12, his fame broke beyond Katanga. By 17, he was a well sought session guitaist.

Quick Backstory.

In 1968 Ndala Kasheba was invited, together with his then 4 years old band, Fauvette, to tour Tanzania. The arrangement was typically a few shows here and there, a grand performance with local bands and possibly a TV performance and recording.

It didn't happen.

Only that, when he landed in Dar es salam, he never 'really left. Could have been a woman.

He opted to stay on a refugee status. Or simply, he did not denounce his native Congolese citizenship.

Many more of his contemporaries had done that, anyway. And it was a visible pattern.

At the time of his tour, it was near impossible to be a leading band in Congo. First, there were more live bands playing than there were places to play at. Secondly, on the basic level, all the bands playing were good. Very good.

Talent and skill was at optimal saturation.

It was as if, you put all the index number one form four students in the country, in one room and asked them what the answer to 1+1 was.

Everyone knows the answer; they are just waiting for their turn on the blackboard.

The music scene was utterly saturated and concentrated.

Thirdly, and probably most importantly, music then was ran by two people, by and large; Joseph Kalle and Franco. And if you did not align, you would probably get sidelined.

For their music to flourish, Ndala and his peers had to look beyond Kinshasa and Brazzaville.

There were only two ways to leave Congo, then. By plane into Europe, or by road East, along the Congo Tanzania border into Kenya or maybe Tanzania if Kenya was too fast for you.

Ndala found virgin territory in Tanzania. In fact, TZ revere his name still, and speak highly of him.

The utterly shameless, erratically stubborn and 'selfish' Baba Gaston found thriving room in Kenya and was instrumental in the formation and growth of Les Mangelepa. In fact some of his band members left him and joined Orchestra Super Mazembe. Boma Liwanza was leading Bassanga.

Awilo’s heavy hitting brother Lovi Longomba alongside Moreno Batamba, Jimmy Moni Mambo, Samba Mapangala and many more would continue with the trend.

Now, the issue of sharing, selling and covering music was not a problem. It was ownership, rights and actual cash transfer were.

Nguashi N’timbo’s 'Shauri Yako' that is widely accredited to Orchestra Super Mazembe may be a good example own ownership and accreditation. (PS: It has been expertly covered by the brilliant Jim Chuchu).

.

Anyway, back to Ndala, and the mighty sing he did. And it's importance.

One of the suitors to his super song, came and also offered an opportunity to Ndala, to write extensively and transfer some of his already big hits to her. For pay.

Which allegedly never came. For [most of the] song[s] he wrote for her.

Which is quite sad if you think about it.

In fact, most of the reparations and dues were paid to his family after his death in 2004. The family put up a spirited legal fight, and finally collected some of the dues owed to Ndala.

That very important song is Dezo Dezo, popularly credited to Tshala Mwana.

Dezo Dezo is a masterpiece in its raw original recording.

You can hear every instrument distinctly. There's zero noise or distortion. Ndala’s original is pure majestic annihilation of the jam.

He prioritizes a groovy mid but slowly growing pace & mood, driven by the acoustic guitar skills he is mightily known for as well as the crazily done percussions. (Ahem Kasiva yo?)

But what he really wants is for us to listen to the song. And what he is singing. The message.

The Queen of Mtwash, Tshala Mwana, also does justice to her version too.

She replaces the lead guitar, almost, with the bass guitar (Mutindi kamu hiya) and the keyboard, kept in place by the snare almost like a metronome. And then she takes it further into the dance floor.

Tshala Mwana's version almost doesn’t let go of the pace, giving the guitar some small prominent space but just on the climax.

But technically, she delivers nothing but dance. And she almost got away with it.

“Masele, Masele, Masele.
Unapenda Dezo."

Here is Ndala Kasheba's [Original Recording of Dezo Dezo.]

Here is Tshala Mwana's Kiuno Ikatike Club Banger Version.