It's incredible to think that 19 years have passed since the passing of Herman Basudde. Known for his poignant lyrics, Basudde was a prominent figure in the kadongokamu genre and has left a lasting legacy, solidifying his status among the legends of Ugandan music, according to Andrew Kaggwa's account.

Undoubtedly, Ugandan music has emerged from a profound place of introspection, melancholy, and immense talent. There was a time when artists entered the studio not out of obligation but because they had something meaningful to convey. This is precisely the essence of Herman Basudde's masterpiece, "Bus Dunia."

Similar to many kadongokamu songs, "Bus Dunia" is composed using three guitar chords, accompanied by exquisite piano melodies and a bass line that forms the foundation of this timeless piece, which spans approximately 14 minutes. In this song, Basudde appears to reflect on a world riddled with problems that are apparent even to the youngest of children.

Then, Basudde draws a parallel between this chaotic world and a bus that has lost its way and changed course. He highlights the disagreement between the driver and the conductor, who serve as the leaders of the bus, regarding its actual destination. Their conflict has reached a point where they are leading the passengers towards a destructive abyss.

Basudde delves into the reckless nature of the bus driver, who refuses to halt even when encountering speed bumps. The situation has become so severe that when the bus encounters potholes, the force is strong enough to throw some passengers off, resulting in fatal injuries upon landing. It is remarkable how Basudde employs a collage of road-related incidents to depict the turmoil that Uganda was perhaps yet to experience.

Above all, it is astonishing that Basudde chose to utilize road accidents as a metaphor for the deteriorating state of livelihood, only to tragically meet his own demise in a real accident in 1997, mirroring the bus he sang about. Recently, I had the opportunity to connect with Aisha Nakitto, Basudde's widow, and the first surprising revelation was that "Bus Dunia," despite its length and informative content, was composed in less than two hours.

"He began writing 'Bus Dunia' around 10 pm and completed it by 11:30 pm. That's how he wrote most of his songs, and surprisingly, by the time he finished writing, the lyrics were ingrained in his mind, eliminating the need for a memorization book during recording sessions," she reveals.

However, before the glory days that propelled Basudde, along with the likes of Paulo Kafeero, Fred Ssebatta, Matia Luyima, and others, to elevate kadongokamu to greatness, he had arrived in Kampala in 1985 after migrating from Bubondo, Butenga sub-county in Masaka.

Indeed, it has been mentioned that Herman Basudde had been performing for over a decade in the Masaka region during the 1970s, although there is limited documentation regarding this period. His career is predominantly recognized to have taken off with the resounding success of his hit song "Mukyala Mugerwa" in 1986.

When discussing the history of kadongokamu, the late Mark Makumbi, a former CBS FM presenter, revealed that Basudde may not have inherited his musical talents from his father, but his father did provide him with his first guitar.

Reportedly, the late Elia Kizza Katende, a World War II veteran, had acquired the guitar as a memento from a white soldier friend. Since he had no use for it, the guitar remained idle in their house until Basudde discovered it and began teaching himself how to play. Subsequently, when the young music enthusiast dropped out of primary school, he started performing at parties in exchange for gifts, tokens, and money, which he would then bring home.

However, as his popularity grew within the village, he encountered trouble with other local youths. During a time of insurgency, he faced false accusations of possessing a firearm, leading to his arrest and subsequent torture, nearly resulting in his death.

"After that harrowing experience, his father advised him to leave the village if he wanted to survive, and that's how he ended up in Kampala," Makumbi disclosed during one of his programs.

Born on December 5, 1958, to Katende and Dimitiria Namyalo, Basudde's song "Mukyala Mugerwa" depicts a story of a woman who murders her husband to be with him, despite having just met him. Even though the song was composed in 1986, like many of Basudde's other compositions, it reflects events that continue to occur in the present day.

Basudde collaborated with Lukwata Guitar Singers to record "Mukyala Mugerwa," as it was common during that time for many kadongokamu songs to be presented as theatrical productions. Various musical collectives, such as Kulabako Guitar Singers, Kadongo kamu Super Singers, Bazira Guitar Singers, and Matendo Promoted Singers, were prevalent, as their concerts were often staged as serialized plays.

Lukwata Guitar Singers was led by Moses Katende, who was referred to as Basudde's Kampala guardian. "When Basudde arrived in Kampala, without any friends or relatives, Katende was the person he sought out," Nakitto explains.

The group comprised other artists like Immaculate Nabiryo (Basudde's sister), Moses Ssengooba, Rosette Nakubulwa, Cissy Nakku, Sauda Nakitende, Livingstone Kasozi, and Nakitto herself, who eventually became Basudde's wife. Nakitto recalls that their performances would begin at 9 pm and continue until 1 am, encompassing not only random songs by group members but also acted-out skits.

"We used skits to bring the songs to life, and sometimes the songs even had special costumes," she reveals.

Most of the skits Nakitto participated in were centered around marriage and involved Basudde. This was not only because they were lovers but also because Basudde was an exceptionally prolific songwriter. In fact, Nakitto notes that although many kadongokamu artists write their own songs, Basudde would write for himself, Nakitto, and Nabiryo. She mentions that with Basudde's knowledge and talent, he could compose four excellent songs in a single day.

Even when Basudde left Lukwata to form his own group, Kabuladda Professional Singers, in 1993, Nakitto and Nabiryo were the first to join him, along with Sylvester Busulwa and Mbalire Kateteyi, among others.

With Kabuladda, it was more of a change in name and location, but Basudde continued to collaborate with many of the people he had previously worked with at Lukwata. For instance, apart from his final productions with Kasiwukira, he continued to create music with Alex Ngabaye of Nick Studio, the same skilled producer he had worked with on his debut album, "Mukyala Mugerwa."

He went on to achieve greater heights with songs like "Enimiro Y'okubuganga," "Priscilla," "Mukyala Kandida," and "Ekiwala Kye Busega." Other notable tracks include "Obwavu," "Ekyali Mu Ssabo," "Bus Dunia," "Abakazi Ba Beeyi," and "Abayimbi."

Similar to "Bus Dunia," where Basudde discussed his own death, in "Abayimbi," he appears to address the plight of artists who pass away without the presence of fellow musicians at their funerals. The song also highlights the challenges faced by artists, such as lacking a home or an office, resulting in difficulties accessing medical treatment, or having their passing go unnoticed until after the burial.

"Many people continue to regard him as a prophet because many of the things he sang about have come to pass," Nakitto remarks.

Last month, on June 11, 2016, fans of Basudde's music paid tribute to him by visiting his gravesite, commemorating 19 years since his passing. Nakitto reveals that she used to accompany Basudde whenever he visited his parents, but on this particular