The Sunday Mail
Prince Mushawevato
Traditional record labels are on the brink of collapse as many artistes in Zimbabwe are resorting to self-recording. Gone are the days when recording companies like Gramma Records, Record and Tape Promotions, Zimbabwe Music Corporation, Ngaavongwe Records, Metro Studios and Diamond Studios boasted of having top artistes.
These days, the new normal is artistes owning studios, with almost every top musician in the country now running his/her own label.
Recently, Sungura king Alick Macheso opened a record label in Chitungwiza where he is recording his much-awaited 10th studio album.
Jah Prayzah, too, is a proud owner of a state-of-the-art studio – JP Studios.
Others like Mono Mkundu with his Monolio Studios, and gospel power couple Baba naMai Charamba who run the Fishers of Man stable have been in the game longer.
Further, Superstar Oliver Mtukudzi keeps improving his Pakare Paye where numerous artistes – both established and upcoming – have recorded for years.
Munyaradzi Viya, a member of Mtukudzi’s Black Spirits, has also established Vialy Studios, and even dendera crooner Suluman Chimbetu has set in motion plans to set up a dendera studio.
And the list goes on.
If truth be told, though, urban groovers pioneered this phenomenon that has also now caught on to Zim dancehall which accounts for over 30 producers countrywide.
In the not-so-distant past, recording companies would jostle to sign big artistes generally regarded as the industry’s cash cows.
It was common for the likes of Thomas Mapfumo, Mtukudzi, Macheso, Nicholas Zakaria, Leonard Zhakata, Tongai Moyo, Simon Chimbetu,
Somandla Ndebele, First Farai, Pastor Charamba, Vabati VaJehovah and Fungisai Zvakavapano-Mashavave to battle it out on the “Top 10” sales charts.
But that is no longer the case.
What has become fashionable is for one to open a studio.
A number of top studios began registering an exodus from around 2010.
And ironically, it is not only leading but also upcoming artistes who are leaving for new rival studios with better contracts.
Artistes cite poor music marketing and distribution among the major reasons for their departure.
Moreover, they argue that giant stables have become lethargic in their business approach and take artistes’ concerns lightly.
Royalties and preferential treatment also feature on the musicians’ compilation of complaints.
To compound the problem, top recording companies seem to be neglecting one of their major roles: talent development.
Through his personal assistant, Gramma Records and ZMC boss Elias Musakwa downplayed the knock his companies have taken.
“Everything within our business is okay. I don’t know of any challenges threatening the viability of our business,” said the PA who only identified herself as Marylyn.
It is now an open secret that new studios have sprouted in every corner of the country, aided by technological advancement.
Could this new trend be the solution to the challenges bedevilling the music industry?
While the new recording companies have created convenience for the concerned artistes, saving them the usual troubles with record companies, critics argue the move has also compromised music quality.
Some studios are not managed by professionals.
In some instances, the hired professionals have no control over musicians they will be recording.
Veteran music producer Bothwell “African” Nyamhondera indicated that having new studios was good, but quickly pointed out the need for proper management.
Nyamhondera said: “If they can build and operate them that’s fine. But I have realised that most new studio owners who happen to be artistes don’t know how to use them.
“There is need for training workshops on how to operate a studio effectively. Also, I think they should invest in qualified personnel who can either work in the studio or train those they would have entrusted with the work.”
He added: “I have noticed that there is confusion on the role of a producer and that of an engineer.
“An engineer is a technical person while a producer is responsible for lyrics, sound quality and instruments.
“That is the reason why I wear two hats at Diamond Studios. In some instances, I’m an engineer while in others, I’m a producer.”
Music critic Professor Fred Zindi contends that new studios have indeed brought sleepless nights to traditional recording companies.
Prof Zindi, however, pointed out that rapidly growing technologies will see artistes come up with well-produced products.
“The newcomers have created headaches for established stables like Gramma, ZMC and Metro Studios. Their businesses are no longer running as viably as they used to back in the day.
“. . . But there is a danger that an artiste may not do justice to the work of a counterpart when he/she feels they are in direct competition. There might be an element of sabotage.”
He also said: “It’s a good idea. Artistes can now record music at their own pace. It is also good in the sense that it helps them save money in the form of studio time.
“But one hopes the owners of the studio will do much in guaranteeing that there is little or less difference in terms of quality from what the giant stables used to produce.”
Diamond Studios marketing manager John Muroyi is of a different opinion as he says artistes are giving them a different kind of problem.
“We are not affected that much by these new studios. The only challenge we have with them is that they approach us with their finished work for marketing and distribution since they do not have that capacity.
“And this is where we have problems. The sound quality on some of the products is poor and so are the lyrics.
“This then means if we sell them under our brand, it is us who will be affected later.”
He conceded, though, that focus is no longer on signing big names.
“Our thrust is now on grooming new talent and they are rising. Artistes like Mark Ngwazi and Potifa Mopo are rising through the ranks and will soon conquer the music world.
“Established artistes are a problem to deal with when you sign them.”
Jazz musician and studio owner Mono concurred, but shot down the sentiment that a musician can sabotage fellow artistes when he owns a studio.
The talented guitarist, vocalist and producer said he only started mixing other artistes’ music two years after he had opened his studio.
Thus, he argues, owning a studio is a first step towards improving the quality of one’s work before they start rushing to record other artistes.
Mono produced Hope Masike’s first project that made an international breakthrough.
He is also the force behind Jah Prayzah’s and Luciano’s collaboration “Roots” and has recorded other local artistes like Alexio Kawara and several foreigners.
“It’s not everyone who can be a mixing engineer.
“That is why you discover that all the artistes who have studios at home call serious producers when they want to record.
“Mixing is a delicate process. Artistes who have tried to go it alone without enlisting services of veterans or qualified people have seen the unfavourable results instantly.”
