This paper revitalises the artist, Herman Basudde Ssemakula, by offering an analysis of four Kadongokamu narrative songs selected from his oeuvre. These function as repositories of the Ganda sociocultural memories and highlight Basudde’s notion of the archive and memory making. I argue that the archive as heterotopia relates strongly and immediately to Herman Basudde’s engagement with social reality in his Kadongokamu songs. I also envisage the fact that Basudde’s message is gradually becoming dearer to listeners as years after his death increase because what he focused on is more evident in the contemporary society, something that appears to crown him as a local prophet. I draw on Michel Foucault’s concept of the archive and heterotopia. Foucault (1984), suggests that archives make sense and become closer to us according to the spaces they occupy in our lives; those that are immediate to us in time and association control us while those distanced by space and time may be dim in strength and authority. I argue that Basudde’s song texts: Africa, Ensi Egenze Wala , Byetwalaba and Abayimbi provide spaces that have more layers of meaning and relationships to places and real-life experiences than immediately meets the eye. They are, in my analysis, items of culture that people select and collect to store in their minds or in their private “jukeboxes,” to reference later.