Kalawa as we know it today,
It all started with Don Laka, Bruce Sebitlo and Oskido Mdlongwa then later joint venture with Jazmee (Mandla Spikiri,Mahoota Sibika and M'jokes) gave birth to the brand:Kalawa Jazmee, with Boom Shaka as their first act. Boom Shaka, a foursome which comprised Lebo Mathosa, Thembi Seete, Junior Sokhela and Theo Nhlengethwa, released their first album in 1993, featuring “It’s About Time”.
There is no denying that Kalawa made kwaito. All their earlier albums – Thebe’s Tempy Life and Tempy Pusher, B.O.P’s King of Kwaito uya Gawula and Traffic Cop, and Trompies’ Sigiya Nge Ngoma and Madibuseng – are now kwaito classics. All were produced by the ¬stable’s producers, some of whom are also board members at Kalawa, including Bruce ¬Sebitlo and Mandla Mofokeng.
“Kalawa finds talent with a unique sound and nurtures it,” says Mdlongwa.
From the humble enception of Kalawa Jazmee,the guys have always found talent with a unique sound and nurtured it. This is evident with the progression of Mafikizolo, which has went from a lukewarm debut with their self-titled album to a sizzling career re-invention with Sibongile, which featured Ndi Hamba Nawe and Marabi.
The list of the artist and groups that owe their success to the Kalawa family is endless; I call them a family because that’s how they approach the work, as a family. I believe these is the reason why Thebe and Trompies still rock while new blood such as Zonke and Tina are burning the Kalawa spirit on the dance floors all over the country.
With the Kalawa crew, creativity is key, they believe in going out and getting inspiration for new songs, thus Kalawa has led the Durban craze,now known as Durban kwaito. They started with Tira and Sox having produced one song on their first album. Its the same creativity that had Mahoota chanting ayoba on Trompies songs five years ago, now the same words echo on dance floors all over the country.
Kwaito’s origins are fuzzy, as is opinion on who exactly can lay claim to the title, King of Kwaito. The publicly accepted version of the birth of kwaito never mentions kalawa’s name. Kalawa has never been faced oblivion, nor have they had to rely on gimmicks instead of creativity. Yes, when Boom Shaka launched, Lebo and Thembi Seete looked like e’kasi imitations of dancehall queens. But that was the only marketing stunt used by Kalawa. Artists have been selling on nothing but the strength of their work.
