The recording industry in Swaziland

6 mai 2016 - 12:40

This text provides an overview of the recording industry in the southern African kingdom of Swaziland. It provides some background of its links to the South African industry, before giving some examples of the key labels, studio and producers currently operating in the country, and ends with a consideration of the challenges the industry faces, particularly piracy.

Swazi producer Sabelo 'Subjamz ' Sithungo in his studio. Photo: www.swazilandbeverages.com

Background

Swaziland's recording industry could easily be said to be equally proportionate to the size of the country. Almost every industry is small scale and the recording industry is no exception. It has taken considerable time for Swaziland to grow to the level of other economies and it has been a gradual ascension. It is for this reason that there are virtually no records or evidence of the existence of any recording studios in the 1960s, 70s and 80s.

Instead, the lone national radio station at the time, the Swaziland Broadcasting and Information Service (SBIS) recorded its own music from artists specialising in traditional music such as Umbholoho, Choral, Umgubo and Ummemiso songs for its various programmes. This was done for archival purposes. With the non-existence of recording studios at the time, Swazi artists made use of the SBIS recording facilities to record their music. Veteran musician Mshikishi Mndzebele, famously known as the ‘Gorilla Man’, is probably the only Swazi artist whose career dates back four decades. During this time he has only released three albums. His most recent project, titled Maye Muhle (2010), was recorded at Ingongoni Studios.

Back in the late 1990s up until 2007, the general trend would be for Swazi artists to engage the services of South African producers in the entire recording process. For example, local award-winning gospel acts such as Ncandweni Christ Ambassadors, Shongwe & Khupuka Saved Group and others have recorded a number of their albums in South Africa. Ncandweni Christ Ambassadors released an album every year until there was some major infighting causing the group's original members to disband.

Swazi artist Nana Magagula is another example of an artist who secured a recording deal with a renowned international record label Gallo, which resulted in the release of her widely acclaimed debut album, Five Loaves and Two Fish in 2004, which garnered three SAMA nominations in 2005. She also worked with Phillip Miler on the soundtracks of South African TV drama series Yizo Yizo and Gaz’lam, and sang the national anthems of France, Uruguay and South Africa ahead of rugby matches in 2006. Til today, she commands respect within the local music scene just because of that album, although she has apparently taken a sabbatical from the music scene.

There is an existing demand for Swazi music in South Africa. So far, Swazi artists have managed to be featured on most of the South African radio stations like Ligwalagwala FM and YFM and TV shows such as eTV's Chiz Niz and SABC2's Morning Live. Truth be told, there has been talk about local artists securing South African record deals in the past, but that’s all it has been - talk. Nothing has ever been officially released to the market. There are also no records to prove that Swazi artists have ever been recorded by the South African Broadcasting Corporation (SABC) for Radio Swazi. The closest a Swazi has come to being recorded by an international music body is accomplished Afro-soul Swazi musician Bholoja, who embarked on a European tour facilitated by the Alliance Francaise du Swaziland, which led to the recording of his debut album Swazi Soul Vol. 1, which was released in March 2010.

Over the years, gospel musicians in Swaziland have churned out truckloads of albums within the local music industry, compared to artists specialising in other music genres. This strategy has worked wonders for the local gospel music industry because it has enabled the genre to stay relevant and to continue to dominate the local music scene.

Labels and Studios

There is an abundance of what have become known as 'bedroom studios’ in Swaziland. These are especially popular with upcoming artists who cannot afford to engage the services of big studios in the country and who also aren't signed to record labels.

There are only two major recording studios in Swaziland that are deemed professional. These are Claiming Ground Records and SubJamz Studios. Neither studios' services come cheap, charging something in the region of E1 300 and more just for a single track.

The young genius behind Claiming Ground Records is Muzi Ngwenya (aka Mozaik The Producer), whose sole purpose for starting his own label was to produce competitive local music of international standards. The Claiming Ground brand has risen from strength to strength, churning out hits that have become club anthems not just in Swaziland, but also in South Africa and Botswana.[i]

As a fully equipped digital sound recording studio, SubJamz Studios headed by Sabelo Sithungo (aka Subjamz) is the most sought after by most artists for their recording needs. Founded in 2010, SubJamz Studios is a fully equipped digital sound recording studio. Equipment worth over E350 000 was invested into the revamped studio situated in Mbabane in 2013 with the aim of raising the quality of Swazi music to reach international standards.[ii]

Swazi Jive was started in 2012 and has since grown within both the Swazi and South African scenes. Headed by Sakhile Nkambule, Swazi Jive is something of a conglomerate. They not only release music, but also organize such events as Hipnotik, an annual hip-hop concert, and have branched out into the world of fashion. Artists on the label include Adrienne Foo and Tendaness.[iii]

Gugupa Records is an independent Swaziland music label founded in 2011 by Mduduzi ‘Ziyawakazitha’ Matsenjwa and Bonginkosi ‘Lcbizzy’ Lumbela. The record label started off as a production studio and later grew to become a record label. Before officially operating as Gugupa Records, it offered its recording services to artists such as Floewe, Cara Stacey (from England), Velemseni, Bholoja, Tlale Makhene, Quad Element and C4 to name a few. Gugupa Records aims at expanding and promoting Swazi music.[iv]

NCA Music Productions started in 2004 after a long struggle by people wanting to get their hands on gospel group Ncandweni Christ Ambassadors’ products. The founder of the group, Timothy Myeni, decided to leave his teaching profession and start the business. Funding and start-up capital was initially a problem for the business, so he had to sell out products from the boot of his old Toyota Corolla. The company grew from strength to strength to where it is today, one of the biggest gospel music brands in Southern Africa with nine albums to their names. Myeni later became a Member of Parliament. [v]

Specialising in hip-hop and RnB, gospel and soul, Tuff Swazi Entertainment began in 2011 aimed at producing the best local artists as well as improving and developing the local music industry. It is currently home to a number of local artists such as Tuff Swazi, Mko 'Mr Rap', The Gullest Clan and Whiskey. Tuff Swazi is also part of #WeMakeMusicSA, a network of artists that stretches throughout Africa. [vi]

Swazi Rhythm is not so much as a record label but a recording project spearheaded by SBIS radio personality Lindelwa Mafa. Determined to promote the local language and culture on the airwaves, Mafa teamed up with Mluleki Dlamini of Yandza Music, an independent studio, to record new talent. The radio programme 'Swaziland's Finest' was born in 2006, later evolving into 'Swazi Rhythm'. Mafa later met Muzi 'Mozaik' Ngwenya of Claiming Ground Records. In 2012, the Swazi Rhythm Vol. 1 compilation came to fruition, featuring the cream of Swazi music. The project was a huge success and was endorsed by the highest authorities in the kingdom. In 2015 work began on a sequel, Swazi Rhythm Vol. II, which is expected to be released soon. [vii]

Although little is known about the Swazi Empire record label, it has managed to release a number of relatively unknown Swazi artists. Situated in the outskirts of Mbabane at the Ngwenya-Oshoek border, this label is determined to get its music out there and to not wait for larger record deals. [viii]

Key Producers

It wasn't until around 2008 that competent and highly skilled local producers started to emerge in the local music scene, producing some fine work which could be identified as 100% authentic Swazi products that resulted in a shift in the general perception that Swazis are incapable of producing quality work.

Mozaik The Producer[ix] is the CEO of Claiming Ground Records as well as multi-award winning producer, rapper, singer, songwriter. Having produced for Award-winning artists such as South Africa-based Afro-soul artist Nomalungelo, R&B sensation Tiyas, Msimisi, hip-hop artists Psycho Lution, as well as Crax, and a lot more, he has managed to capture each one of these artists’ personalities and provide a platform for them to truly be expressed. He spent two years in Scotland studying Sound Engineering and the Music Industry, which enhanced his talents and capabilities. Some of Mozaik’s accolades include the production of the biggest album of 2010 in Swaziland, Siyinqaba. The album won awards for Album of the Year, Hip-Hop Album of the Year and one of the songs on the album got a nomination for Song of the Year, even though that award went to ‘Imiyalo’, the first single on Nomalungelo’s album which was also produced andco-written by Mozaik. ‘Imiyalo’ was on rotation on a number of radio stations in South Africa and Botswana. He is also the Producer of the Swazi Rhythm compilation, working with a variety of artists.

Sabelo Sithungo (aka Subjamz)[x] has achieved so much at a relatively young age, producing for a number of successful Swazi musicians under his record label. He is also the Tihlabani Award winning Producer of the Year 2011/2012. Sithungo began his music career working with Her Royal Highness Princess Sikhanyiso and C4 back then. During his early days in 2005 and 2006, he worked with Redemption Mass Choir and also worked on a number of productions for popular local acts such as Psyco-lution and Siyinqaba. He is also the man behind Christian rock band Outcry’s album New Generation, Sunshine M’s album I Worship You and Wandile’s album Journey To You. Pastor Richard Brown has had a touch of the young producer and entrepreneur’s craft. SubJamz’s production company is called Sthungo Investments, which is a multimedia production company that specialises in audio productions. He studied Computer Science at the Swaziland College of Technology and later decided to follow his passion in music production whereby he then registered his company after having started his studio operations in 2009.

Ziyawa (real name Mduduzi Matsenjwa) is another talented music producer who has worked with a number of local artists in almost all the genres, including gospel. He has worked with the likes of Mbabane Miracle Centre, Chris Shabangu, Nduduzo Matse and Frans Dlamini in the gospel circles. He went on to work with artists in different genres including Bholoja, Floewe, Masikane and Khulula choir just to name a few. He polished his craft in the past 15 years and is still going strong. He started out as a sound engineer in 2000 until 2008. From 2008 to 2010, he taught music at Waterford Kamhlaba. In 2010, he embarked on a tour of 17 African countries and three European countries with Swazi music stalwart Bholoja.

Another key player in the Swazi recording industry is Sicelo Dlamini (aka Mthee), who also has an impressive track record. Having worked with almost all the big and up and coming musical acts, his biggest achievement was working with the late South African mbaqanga legend David Masondo on his last solo project titled Udlala Ngami. Mthee is also working on former MTN Joyous Celebration member Siphumelele Mbambo’s latest album.

Challenges

A thorn in the side for music producers and artists alike within the Swazi music industry is piracy and the country’s Copyright Bill. The current law meant to protect the music and arts industry against piracy calls for a paltry E4 fine, stipulated by the Copyrights Act of 1912. The current situation is outrageous given the amount of work, time and money that is invested into any project.

This has led to the closure of some music outlets because of the loss the industry is subjected to as a result. Piracy has proven, in the recent past, to become the fasted growing industry. It has become so big that pirates even display their ‘stolen’ CDs along the street pavements causing a huge disturbance to pedestrians.[xi]

There is great potential for the Swazi recording industry to grow far more. Despite a new crop of talented producers springing up every day, as well as a never-ending number of artists who want to record, the local recording industry's growth and inevitably its success however hinge on the industry's ability to partner with the Swaziland government to enforce stringent measures to enable music producers to maintain control of how their intellectual property is consumed after it leaves the studio.

With no proper laws protecting intellectual property, however, the future of the recording industry looks bleak. Until such time that the Swazi government recognises the potentially vast contribution the creative community could have on its economy, stagnation within the recording industry will remain a recurring problem.