Hlengiwe Mhlaba Biography
Hlengiwe Mhlaba is a South African gospel musician born in 1973 in Kwa – Zulu Natal. Hlengiwe became successful for her debut album Dwala lami.
Hlengiwe Mhlaba Age
She was born in 1973 in Kwa – Zulu Natal, South Africa. She is 45 years old as of 2018.
Hlengiwe Mhlaba Married
She says she has never had a man in her life. However, she has since decided to put a ring on her ring finger. She said, “I call the ring a ‘stop-nonsense’. When most men see it they turn away. A lot of them come for my money, cars and fame. Otherwise, how do you explain this sudden interest? When I was a teacher nobody wanted me, but now that I am doing well people want to marry me.”
She says that it is not that she does not want to get married “but I have not met the right person with the right motives. Also, I am too busy to even think about marriage.”
Hlengiwe Mhlaba Career
Hlengiwe Mhlaba discovered her talent in singing when she was young, she became a house hold name among the crusade goers especially in KZN and Swaziland as years went by her fan base grew.
She had an encounter with Sipho Makhabane who signed her to Amanxusa Music Production. Her debut album Dwala lami was released in 2005. Her album had unique sound, voice and presentation. This introduced Hlengiwe Mhlaba to the rest of the country as the first Gospel jazz artist.
In 2006 she released another album Jesu Uyalalela. In 2007 she released another album titled Blessings (izibusiso). In 2008 she had her live DVD Live @ Durban PlayHouse which was filmed together with its live CD.
Hlengiwe Mhlaba is known for packing top entertainment venues such as the Durban City Hall, the Playhouse and the Pretoria State Theatre whenever she is booked to entertain gospel music lovers. She has shared platforms with gospel superstar Sipho Makhabane, (who is also her producer), the late gospel star Vuyo Mokoena, gospel singer and songwriter Ntokozo Mbambo and the famous Joyous Celebration group. She has won a South African Music Award and two SABC Crown Gospel Awards.
Hlengiwe Mhlaba Albums
- 2005: Dwala Lami
- 2009: Hlala Kuye
- 2011: Laphalala Igazi
- 2012: Abba Baba
- 2013: Esandleni Somusa
- 2015: Live At The State Theatre
- 2016: Blessings
- 2017: Edwaleni
Hlengiwe Mhlaba Songs – Hlengiwe Mhlaba Music
1. Ziyamazi Umelusi
2. Living Waters
3. You Are Alpha
5. when i remember
7. Rock of ages
8. He Lifted Me
13. How i love Jesus
14. It’s Me
15. He Gives Me Power
16. in the middle of the night
17. Abba Baba
19. Yebo Nkosi
21. Bhekani Ezulwini
22. Here We Stand
23. I Love You Lord
24. izulu nomhlaba
27. sweet Jesus
29. I will serve no foreign God
33. Wakuqinisa Ngegazi
34. All Time Religion
35. Livin waters
36. Jesu yedwa
37. Holy Zion
39. Remember me
40. Thula Wazi
43. We Praise Jesus
45. The story of three men
46. After Today
47. The Power And The Glory
48. Lift Me To The Rock
49. Jesus Is The Answer
50. Ezintweni Zonke
Hlengiwe Mhlaba Mp3 Downloads | Hlengiwe Mhlaba Songs Download
To download all Hlengiwe Mhlaba songs click the following link.
Hlengiwe Mhlaba Contact Details
Her contact details will be updated soon.
Hlengiwe Mhlaba Awards
- Best Contemporary Gospel at the 14th South African Music Awards
- Best Traditional Gospel Award at the 1st Crown Gospel Awards.
- Best Classic of all time for her song Dwala Lami at the 2nd Crown Gospel Award.
Hlengiwe Mhlaba News
Gospel shocker: How black musicians got screwed
What is alleged to be the biggest music rights scam in South African history has been exposed because a multiplatinum selling gospel star has demanded to know what happened to her royalty money.
The apparent billion-rand scheme involves the SA Music Rights Organisation (Samro), which is accused of unlawfully deducting royalties from mostly gospel, mbaqanga, maskandi and kwela artists in an ongoing scheme that began in 1963.
In a tell-all interview, award-winning gospel powerhouse Hlengiwe Mhlaba told City Press that, over a decade, R8.5 million of her royalties was stolen by fellow gospel artist Sipho Makhabane, her former producer and manager. Makhabane did not respond to numerous calls, messages and emails sent to him from Tuesday.
But after Mhlaba hired copyright lawyer Graeme Gilfillan to investigate her royalty payments, the real extent of her losses came to light.
Mhlaba discovered that of her 90 songs collecting royalties through Samro, 24 were only paying out 16.7% of what was due to her.
Among these 24 songs, all new arrangements of traditional works, are her biggest hits, including Rock of Ages, uJesu Uyalalela and Mhlekazi.
The remaining 83.3% was, according to Samro’s own database, paid to a mysterious composer called “DP”.
Mhlaba claims that in the course of 14 albums she has had well over R100 000 taken by DP – on top of the millions Samro paid to Makhabane without her ever formally signing her rights over to him.
But that was just the tip of the iceberg.
Gilfillan discovered that Mhlaba was just one of numerous affected artists. Rebecca Malope, Thomas Chauke, Jabu Khanyile, Benjamin Dube, Mbongeni Ngema, Brenda Fassie, Miriam Makeba, Mahlatini, Margaret Singana, the Dark City Sisters and even American artists such as Otis Redding and Aretha Franklin were some of the authors of new versions of traditional works who had fallen victim to what he describes as a scam.
Gilfillan’s findings are being used as research for a PhD thesis on Mhlaba’s case. Based on the percentage of this type of royalty paid out by Samro, Gilfillan estimates that R1.2 billion was deducted in DP’s name over 55 years.
“We believe the quoted amount is a gross exaggeration and would welcome your calculations on this amount,” said Samro spokesperson Andile Ndlovu, who also challenged City Press’ understanding of the allegations. But he did not deny claims of unlawful deductions from mostly black songwriters to benefit mostly corporate record company interests.
He said that the 83.3% is still being “written back to distributable revenue for subsequent distributions”.
But City Press’ investigation found that, of the R370 million paid out annually by Samro, about 70% goes to the major multinational publishers and leading independent publishers operating in South Africa, who also constitute about half of Samro’s board.
Samro’s members are publishers and songwriters, the latter assigning the performing rights in all their songs to the organisation, which in turn licenses these rights for use in TV, cinema, public performances, radio and music played at events. Publishers, who administer these and other rights for writers, generally receive 50% of the money paid out.
The DP scheme can be tracked, says Gilfillan, back to 1963 when Samro’s board began accepting candidate members, its lowest tier of membership, who had no right to vote or attend meetings.
Publishers occupy the highest tier as the majority of Samro’s full members and therefore obtain shares of Samro income that candidate members cannot. Samro, founded in 1961, did not deny these findings.
Ndlovu told City Press that Samro will, this month, begin a national review of its membership practices.