Kenya’s National Rights Registry Records Sitolia as Wholly Gloria Muliro’s. Five Store Credits for the Same Song Name Three Different Rights Holders.

Deal sheet

Status

CONTESTED IN PUBLIC, UNRESOLVED ON THE DOCUMENTS, AND NOT A TRANSACTION. This record is not an acquisition, investment, signing or licence. It is a rights-position record for a single song on which the public documentation does not agree with itself, and on which the two named artists have publicly said different things.

WHAT EXISTS. (1) A Kenya Copyright Board certificate of registration, numbered RZ73377, in the Sound Recording category, entitled "Sitolia", registered in the name of GLORIA OWENDI MULIRO, signed by the Acting Executive Director and carrying a verification QR code. (2) A National Rights Registry entry behind that certificate which is flagged approved, not rejected and not editable, and which allocates author, producer, performer and publisher shares exclusively to her. (3) Five store credits across two platforms which name three different rights holders. (4) A March 2013 interview in which Muliro states that she and Willy Paul co-own the song.

WHAT DOES NOT EXIST, SO FAR AS THIS DESK CAN ESTABLISH. No recording agreement, split sheet, assignment, settlement, deal memo, licence, court filing, arbitral award or collecting-society statement relating to this song has been obtained from any source. There is no document in which both artists agree on anything about the ownership of this song, and no document in which a tribunal has decided it.

TIMING MATTERS AND IS EASY TO GET WRONG. The Kenyan registration was created on 31 March 2025 and its certificate was generated on 5 April 2025. The public dispute dates from 2012 and 2013. The National Rights Registry platform itself did not launch until roughly 2020. This registration therefore CANNOT be the registration Willy Paul was complaining about in 2013, and this record does not present it as such. What it shows is the state of the Kenyan register today, more than a decade after the argument, which remains the position a royalty payer or licensee would find if they searched it now.

THE PARTIES HAVE SINCE RECONCILED, WHICH CHANGES NOTHING ABOUT THE REGISTER. The two artists later recorded together again. Nothing obtained indicates that any reconciliation altered any registration, credit or share, and the register as read on 24 October 2026 still names one of them only.

Parties

Africha Entertainment Limited

Amount

Not disclosed, and in this instance there is no disclosed transaction for a figure to attach to. No advance, royalty rate, royalty split, percentage, settlement sum, licence fee, distribution commission, buy-out, assignment consideration or any other amount appears in any document obtained, and no party has published one. The only numbers in the primary registry record are ownership-share percentages in the Kenyan register, which are reproduced in the rights field; those are allocations of share, not sums of money. Willy Paul has said publicly that he earned little or nothing from the song and Gloria Muliro has said publicly that he received ringback and ringtone royalties, but neither has published a figure, a statement, a royalty report or an accounting. No figure is asserted anywhere in this record and none should be inferred from it.

Rights covered

SOUND RECORDING COPYRIGHT, PLUS A COMPOSITION-SIDE SHARE RECORDED IN THE SAME REGISTRY ENTRY. The right at issue is the phonogram, and secondarily the publisher share recorded alongside it in the Kenyan register. Precise distinctions follow, because this is the field in which this story is usually reported wrongly.

WHAT THE KENYAN REGISTER RECORDS, AND IT IS THE STRONGEST DOCUMENT HERE. National Rights Registry reference RZ73377, category "Sound Recording", sub-category "Recorded Music", title "SITOLIA", approved true, rejected false, editable false. Registered owner: Gloria Owendi Muliro, sole. The entry then allocates roles and shares as follows, and every one of them names the same single person: authors, Gloria Owendi Muliro, ownership share 30 per cent; producers, Gloria Owendi Muliro, 30 per cent; performers, Gloria Owendi Muliro, role "Main Vocalist", 30 per cent; publishers, Gloria Owendi Muliro, 10 per cent. Those four shares total 100 per cent and all four sit with one party. The supporting artefact lodged with the registration is an audio file named "Sitolia Mp3 by Gloria Muliro .mp3". Willy Paul, under that name or under his legal name Wilson Abubakar Radido, appears in no field of this registration.

THAT REGISTRATION OWNS AND PUBLISHES. IT DOES NOT MERELY ADMINISTER OR DISTRIBUTE. The register places Muliro in the owner position for the master and in the publisher position for the composition share, with no licensee, administrator, distributor, co-owner or assignee named anywhere in the entry. There is no co-writer, no co-producer, no featured performer and no second rights holder recorded.

WHAT A KENYAN REGISTRATION CAN AND CANNOT SETTLE. Registration of copyright works is voluntary in Kenya and protection arises automatically on fixation, so the register is not exhaustive and absence from it is not absence of rights. A certificate is evidence of ownership, not a conclusive adjudication of it, and it records what one applicant asserted and the Board approved. It is therefore strong evidence of the recorded position and weak evidence about any competing unrecorded claim. Willy Paul not appearing in RZ73377 does NOT establish that he has no interest in the song. It establishes that no interest of his is recorded there.

THE SAME SONG TITLE CARRIES FIVE STORE CREDITS NAMING THREE RIGHTS HOLDERS. (1) Apple collection 847607819, "Kitanzi (You Never Know)" by Willy Paul, released 24 March 2014, 7 tracks, genre Christian: copyright line "℗ 2014 Africha Entertainment Limited". "Sitolia (feat. Gloria Muliro)" is track 6, and its own track-level release date is 26 March 2012, two years before the album it sits on. Every one of the seven tracks on that album is credited "feat. Gloria Muliro". (2) Deezer album 7576770, the same album, label field "Africha Entertainment (WILLY) Limited", barcode 888608912723. (3) Apple collection 1643035132, "Sitolia – Single", artist billing "Willy Paul & Gloria Muliro", released 19 May 2015, one track: copyright line "℗ 2015 Willy Paul". She is billed as a co-equal artist on the release and named nowhere in its phonogram line. (4) Deezer album 162560162, "Kibali" by Gloria Muliro, released 26 March 2012, 14 tracks, barcode 859707960908, label field "Gloria Muliro", containing "Sitolia ( Swahili)" credited to her alone with a single contributor, "Main". (5) Apple collection 1390884520, an album titled "Sitolia" by Gloria Muliro alone, dated 26 March 2012, 9 tracks: copyright line "℗ 2023 Gloria Muliro". The three distinct rights holders named across those five credits are Africha Entertainment Limited, Willy Paul and Gloria Muliro.

THE AFRICHA CREDIT IS A DISTRIBUTOR CREDIT AND MUST NOT BE READ AS OWNERSHIP. This is the single most important correction in this record. Africha Entertainment Limited states on its own About page that "As an artist distributing with Africha Ent, your music is licensed to us, on a non-exclusive basis, by agreeing to our terms and conditions. We then license the content to the retailers, on your behalf." On the company's own published terms it is a NON-EXCLUSIVE LICENSEE and sub-licensor. It is not, on anything obtained, an assignee or owner of this master. The company describes itself as "the leading East African audio & video digital content distributor" and says it "controls the distribution rights to over 1m tracks". Further, the parenthetical in "Africha Entertainment (WILLY) Limited" is a per-artist imprint convention and not a company specific to Willy Paul: Deezer album 10863278, Sauti Sol's "Sura Yako", carries the label string "Africha Entertainment (Sauti Sol) Limited", and a Deezer label-field search returns 298 albums carrying an Africha Entertainment string across many unrelated East African acts. A reader who takes "℗ 2014 Africha Entertainment Limited" to mean Africha bought or owns this recording would be wrong, and this desk makes no such claim.

TWO ISRCs EXIST FOR THE SAME SONG TITLE, AND A THIRD VERSION IS A DIFFERENT LENGTH. The copy on Willy Paul's album carries ISRC QMFME1416734 and a duration of 203 seconds. The copy on Muliro's "Kibali" carries a different ISRC, TCABE1299220, and a duration of 204 seconds. Under the ISRC standard the fifth and sixth characters are a year of reference: "14" and "12" respectively, consistent with the two release dates. Neither registrant prefix is the Kenyan country element. Separately, track 1 of Apple collection 1390884520 runs 229,487 milliseconds, roughly 229 seconds, which is materially longer than either. This desk therefore does NOT assert that these are all the same master. At least two and possibly three distinct recordings or masterings of this song are in commercial circulation, separately identified, under different credits. Whether the 203-second and 204-second copies are the same master delivered twice could not be established from metadata, and nothing here should be read as a finding that any identifier was misapplied by anyone.

WHY THE DUPLICATE IDENTIFIERS MATTER TO THE DISPUTE. Where one song title circulates under two ISRCs on two differently credited releases, usage royalties for the two can accrue down two separate registrant chains to two different claimants. That is a general feature of how recording royalties are matched and paid, and it is recorded here because it is a mechanism by which both of the artists' public statements could be partly true at once: one party could receive certain revenues on one registration while the other is recorded as sole owner of another. This is offered as a structural explanation of how the record could look like this, NOT as a finding that it is what happened. No royalty statement, distribution report or collecting-society accounting has been obtained for either identifier.

PUBLISHING AND SONGWRITING ARE OTHERWISE UNESTABLISHED. Beyond the 10 per cent publisher share recorded to Muliro in RZ73377 and the 30 per cent author share recorded to her there, no publisher, co-publisher or publishing administrator is named for this composition in any source obtained. No independent songwriter or composer credit was retrievable: Deezer lists performers rather than writers, and no performing-rights repertory covering Kenyan works was reachable. Who wrote "Sitolia", and in what shares, is NOT established by this record.

NO DSP RELATIONSHIP, DIRECT OR INTERMEDIATED, IS ESTABLISHED. The releases are present on Apple and Deezer and were read there. Nothing obtained shows whether either artist holds any direct store relationship or reaches those stores only through an aggregator, beyond Africha's self-described sub-licensing role on the 2014 album.

NO EQUITY, NO CATALOGUE SALE, NO CHANGE OF CONTROL. Nothing obtained indicates that any catalogue, shareholding, company or group of masters changed hands between these parties at any time.

Territory

KENYA FOR THE REGISTRATION. WORLDWIDE STORE AVAILABILITY. NO CONTRACTUAL TERRITORY HAS BEEN READ.

THE REGISTRATION IS KENYAN AND ITS EFFECT IS KENYAN. Certificate RZ73377 is issued by the Kenya Copyright Board under Kenyan law and recorded on Kenya's National Rights Registry. A Kenyan registration is evidence in Kenya. It does not by itself create, transfer or record any right in any other country, and no corresponding registration for this song was located in any other jurisdiction. The registry entry records language "Kiswahili" and genre "Gospel".

THE RECORDINGS ARE AVAILABLE WELL BEYOND KENYA. All five store credits were read on the United States storefront of Apple and on Deezer, both reachable internationally, so the recordings are distributed outside Kenya whatever the registration says. Africha Entertainment names Kenya, Zambia, Tanzania and Uganda as the markets it serves, which is narrower than the availability actually observed.

NO TERRITORIAL CLAUSE HAS BEEN READ, BECAUSE NO AGREEMENT HAS BEEN OBTAINED. No licence, assignment or distribution agreement for this song exists in the documents gathered, so no territory grant, carve-out, exclusivity provision, reversion or term has been read. Nothing in this record should be cited as describing the territorial scope of any agreement between any of these parties. Storefront-by-storefront variation of the credits was not tested for this record and is noted in the caveat as unchecked.

Announced

2025-03-31

Primary document

Rights registry

Sources

Kenya Copyright Board, Certificate of Registration of a Copyright Work, reference RZ73377, Sound Recording category, entitled "Sitolia", registered in the name of GLORIA OWENDI MULIRO. System-generated certificate signed by the Acting Executive Director and carrying a QR code for validity verification. Served from the Kenyan National Rights Registry certificate store; fetched and read in full by this desk on 24 October 2026 (HTTP 200, 346,533 bytes, PDF 1.5, last modified 5 April 2025, which matches the registry entry's own update timestamp).

Cited as the primary source because it is the only document obtained in which a statutory authority, rather than a store metadata field, a press account or an artist, records who owns this sound recording. The certificate is the published, personal-data-free artefact of registry entry 3627c1d0-d613-4669-862e-f97ed832a550, whose share allocations are set out in the rights field above.

NOTE ON METHOD AND ON WITHHELD DATA. The underlying entry was located through the registry's own public "Search Copyright Database" function. That search is served by an unauthenticated endpoint which returns, for every registrant it matches, their national identity number, personal mobile number, personal email address and town of residence. This desk used it only to establish ownership roles and share percentages, and has withheld every personal identifier from this record and from the accompanying article. The certificate PDF is cited in preference to the query URL for that reason. · Kenya National Rights Registry public "Search Copyright Database" interface, the route by which registration RZ73377 was located. Reachable without login (HTTP 200, read 24 October 2026). Cited in preference to the raw query endpoint because the endpoint returns third-party personal data, as set out in the source label. A search on this title returns two approved Sound Recording registrations, both registered to Gloria Owendi Muliro: "SITOLIA" (RZ73377) and "FOLLOW YOU" (RZ73349), the latter carrying "SITOLIA" in its own album field and a stated release date of 1 January 2013. Both allocate author, producer, performer and publisher shares of 30, 30, 30 and 10 per cent to her and name no other party. Willy Paul appears in neither. · Archived copy of a question-and-answer interview with Gloria Muliro headlined "Gloria Muliro: People don't understand me", datelined Saturday 2 March 2013 and marked updated 2 July 2020. This is a DIRECT STATEMENT FROM A NAMED PARTY and is the source of her denial. Asked whether Willy Paul's claim that she "registered the song under your name to pocket all the revenue" was part of "the devil's work", she answers: "Yes, because it is not true. He is getting royalties when the song is downloaded as a ringback tune or a ringtone. We co-own the song, so I cannot pocket all the cash." She also calls the controversy "the work of the devil, since the song was doing very well". Fetched as raw HTML by this desk on 24 October 2026 (HTTP 200, 137,517 bytes) and read in full; the live publisher URL returns HTTP 403 to this desk, so the archived snapshot is cited as the resolving copy. The interview is also the source for her separate denial of an unrelated allegation about the song "Follow You". · Apple iTunes Lookup for collection 847607819, "Kitanzi (You Never Know)" by Willy Paul. Fetched by this desk 24 October 2026 (HTTP 200). Returns copyright "℗ 2014 Africha Entertainment Limited", collection release 24 March 2014, 7 tracks, genre Christian, and a track list in which all seven titles read "feat. Gloria Muliro". "Sitolia (feat. Gloria Muliro)" is track 6 with a track-level release date of 26 March 2012. · Apple iTunes Lookup for collection 1643035132, "Sitolia – Single". Fetched 24 October 2026 (HTTP 200). Artist billing "Willy Paul & Gloria Muliro", released 19 May 2015, one track, genre Worldwide, copyright "℗ 2015 Willy Paul". Cited because the phonogram line names him alone while the artist billing names them jointly. · Apple iTunes Lookup for collection 1390884520, an album titled "Sitolia" credited to Gloria Muliro alone, dated 26 March 2012, 9 tracks, genre Christian, copyright "℗ 2023 Gloria Muliro". Fetched 24 October 2026 (HTTP 200). Track 1, "Sitolia", runs 229,487 milliseconds, materially longer than the 203 and 204 second copies on the other two releases, which is why this record does not assert that all copies are one master. · Deezer album 7576770, the Deezer copy of "Kitanzi (You Never Know)". Fetched 24 October 2026 (HTTP 200). Label field "Africha Entertainment (WILLY) Limited", barcode 888608912723, released 24 March 2014, 7 tracks. Note that Deezer drops "feat. Gloria Muliro" from all seven track titles and credits the artist as "Willy Paul" alone, where Apple retains the featured credit in every title. · Deezer track 76414001, "Sitolia" as delivered on Willy Paul's album. Fetched 24 October 2026 (HTTP 200). ISRC QMFME1416734, duration 203 seconds, track release date 23 February 2015, contributors "Willy Paul" role Main and "Gloria Muliro" role Featured. The only record obtained in which a platform explicitly encodes her as a contributor to his copy of the recording. · Deezer album 162560162, "Kibali" by Gloria Muliro. Fetched 24 October 2026 (HTTP 200). Label field "Gloria Muliro", barcode 859707960908, released 26 March 2012, 14 tracks, including "Sitolia ( Swahili)". · Deezer track 1030959542, "Sitolia ( Swahili)" as delivered on "Kibali". Fetched 24 October 2026 (HTTP 200). ISRC TCABE1299220, a DIFFERENT identifier from the copy on Willy Paul's album, duration 204 seconds, release date 26 March 2012, and a single contributor: "Gloria Muliro", role Main. Willy Paul is not credited on this copy in any field. · Africha Entertainment Limited's own About page, a direct statement from a named party, fetched as raw HTML by this desk 24 October 2026 (HTTP 200, 19,701 bytes) with the quoted wording confirmed present in the markup rather than taken from any summary. Source for the finding that the company takes a non-exclusive licence and sub-licenses to retailers "on your behalf", and therefore that its phonogram credit is a distributor credit rather than evidence of master ownership. · Deezer album 10863278, Sauti Sol's "Sura Yako", label field "Africha Entertainment (Sauti Sol) Limited", barcode 889845370598, released 31 July 2015. Fetched 24 October 2026 (HTTP 200). Cited as the control that establishes "Africha Entertainment (ARTIST) Limited" as a per-artist imprint convention rather than a company specific to Willy Paul. · Deezer label-field search returning 298 albums carrying an Africha Entertainment string, across unrelated East African acts including Sauti Sol, Solomon Mukubwa, Bahati Bukuku and Fanuel Sedekia. Fetched 24 October 2026 (HTTP 200). Corroborates the imprint-convention finding and the company's claim to broad East African distribution. · MusicBrainz recording search for "Sitolia", queried directly by this desk on 24 October 2026 with a descriptive user agent (HTTP 200). Returns count 0. Recorded as a CHECK PERFORMED AND NEGATIVE, not as a source skipped: MusicBrainz holds no recording entity for this song, so no registry cross-check of its credits was possible there. A companion artist search returns a single bare "Willy Paul" entity with no country and no disambiguation, and no associated Sitolia recording. · Kenya National Rights Registry search on Willy Paul's legal surname, Radido, run 24 October 2026 (HTTP 200). Returns 2 approved registrations, neither connected to this artist: a spoken-word sound recording owned by a different person and a literary work by a third. A companion search on "Willy Paul" returns 20 records, none of which is this artist on inspection of every owner, author, producer, performer and publisher field; the nearest is a registered literary work that is a review of one of his songs by another author. No sound recording registered to Wilson Abubakar Radido was located in the Kenyan register. · Kenya Copyright Board General FAQs, the regulator's own published guidance, fetched as raw HTML by this desk 24 October 2026 (HTTP 200, 62,690 bytes) and read directly. Three passages are relied on. On searchability: "The law provides for a search of the Copyright Works Database. In this regard, the Board has developed and deployed an online searchable index". On the remedy available to a party who disputes a registration: "Where your copyright is fraudulently registered by another, the copyright law provides a remedy. The aggrieved person is required to write to the Executive Director contesting the Registration and offer evidence of his claim. The Executive Director shall then conduct further enquiries that may include convening a meeting between contending parties to determine true authorship and thereafter may decide to remove the registered work from the Copyright Register or amend the Register in the name of the complainant." That is the documented route by which a contested registration can be challenged in Kenya, and no evidence was obtained that it has ever been invoked in respect of RZ73377. On the royalty stream named in Gloria Muliro's 2013 statement: MCSK "administers the mechanical and synchronization rights" and "The mechanical rights also cover the rights in ringtones and are entitled to collect the royalties from users", which establishes that ringtone royalties are a real and separately administered income stream in Kenya, without establishing that any sum was paid to any party for this song.

Read this before citing: WHAT IS VERIFIED, AND FROM WHAT. Four things are established, and each is narrower than the public argument about this song. First, that a Kenya Copyright Board certificate numbered RZ73377 registers the sound recording "Sitolia" in the name of Gloria Owendi Muliro, and that the registry entry behind it allocates author, producer, performer and publisher shares of 30, 30, 30 and 10 per cent to her and names no other party. The certificate was fetched and read in full. Second, that Gloria Muliro said in a March 2013 interview, in her own words, "We co-own the song, so I cannot pocket all the cash", and that Willy Paul "is getting royalties when the song is downloaded as a ringback tune or a ringtone". The interview was recovered as raw HTML from an archived snapshot and read in full, because the publisher's live URL refuses requests from this desk. Third, that five store credits across Apple and Deezer for the same song title name three different rights holders, each credit read directly from the platform APIs. Fourth, that Africha Entertainment Limited describes itself on its own site as a non-exclusive licensee that sub-licenses to retailers on the artist's behalf, which is what its phonogram credit reflects. Everything beyond those four findings is unestablished, and is set out below.

THE CENTRAL CONTRADICTION IS PUBLISHED RATHER THAN SMOOTHED. A statement by a named party and a statutory register disagree. In 2013 Muliro said the song was co-owned. The Kenyan register, as it stands, records it as hers alone across every role it tracks. Both of those are faithfully reported here and this desk does not choose between them, because choosing would require a document nobody has produced. Three explanations are consistent with the evidence and this record excludes none of them: the 2025 registration may cover a different recording from the duet; an unrecorded agreement between the artists may exist that the register does not reflect; or the registered position and the 2013 statement may simply be inconsistent. There may be others.

THE REGISTRATION POSTDATES THE DISPUTE BY TWELVE YEARS AND IS NOT EVIDENCE ABOUT 2013. The registry entry was created 31 March 2025 and updated, with the certificate generated, on 5 April 2025. The National Rights Registry platform did not exist until around 2020. Willy Paul's complaint dates from 2012 and 2013. Whatever he was complaining about then, it was NOT this registration, and anyone citing this record must not conflate the two. What was or was not registered anywhere in 2012 or 2013 could not be established: no pre-2020 Kenyan registration record is reachable by this desk, and the old manual register is not published.

THE REGISTRY ENTRY'S OWN RELEASE METADATA DOES NOT MATCH ANY STORE RECORD, AND THIS IS UNRESOLVED. Registration RZ73377 gives the album as "NARUDISHA" and the release date as 23 August 2017. No store record agrees: the stores date this song to 2012, 2014 and 2015 on three different releases, and "Narudisha" appears in Apple's catalogue as a separate 2018 Muliro single carrying "℗ 2019 Gloria Muliro". The registration's label field is empty. This desk cannot tell whether RZ73377 covers the duet recording at all, covers a later solo re-recording, or simply carries loose metadata entered by the applicant. That uncertainty is material to how far this record can be pushed and it is stated here rather than buried. The lodged audio artefact is named "Sitolia Mp3 by Gloria Muliro .mp3", which is consistent with a Muliro-credited copy but does not identify a master.

THIS DESK DOES NOT ASSERT THAT ALL FIVE CREDITS DESCRIBE ONE RECORDING. Two different ISRCs are in play, QMFME1416734 at 203 seconds and TCABE1299220 at 204 seconds, and a third copy on Apple runs about 229 seconds. At least two and possibly three distinct recordings or masterings circulate under this title. Whether the 203 and 204 second copies are the same master delivered twice could not be established from metadata alone, and no claim is made that any identifier was wrongly applied by any party. A reader should not infer from this record that any one credit is false; the finding is that the public record is inconsistent, not that a named party misstated anything.

WILLY PAUL'S SIDE IS REPORTED SECOND-HAND AND THAT IS A REAL WEAKNESS. His claim that Muliro held the copyright and that he was not earning from the song is characterised in the 2013 interview by the interviewer putting it to her, and it is widely attributed to him. This desk did NOT obtain any document in which Willy Paul states it in his own words: no interview transcript, broadcast, social post or statement of his on this subject was fetched and read. His position is therefore recorded in this file as a reported claim put to the other party, not as a verified first-person statement, and it should be cited that way. Muliro's denial, by contrast, is a verbatim first-person quote from a document read in full. The asymmetry is in the sourcing, not in the merits, and nothing should be read into it about who is right.

NO ROYALTY EVIDENCE EXISTS ON EITHER SIDE. Muliro's statement that Willy Paul received ringback and ringtone royalties is her assertion and is not corroborated by any statement, report or accounting obtained. His claim that he earned little is equally uncorroborated. No distributor statement, collecting-society disbursement, telco ringback accounting or platform royalty report for this song has been obtained from any source, and none is reachable by this desk. Who was actually paid what, by whom, in any year, is NOT established.

COMPOSITION OWNERSHIP IS NOT ESTABLISHED AND THE SONGWRITER REGISTRY CHECK LARGELY FAILED. Beyond the author and publisher shares recorded to Muliro in RZ73377, no independent songwriter or composer credit for "Sitolia" was obtained. The Music Copyright Society of Kenya operates no public repertory search comparable to those run by ASCAP, BMI or PRS, so no Kenyan composition lookup was possible, and no composition-side repertory was reachable by this desk in any jurisdiction. The KECOBO registry itself returned no separate Musical Work registration for this title, only Sound Recording entries. Who wrote the song, and in what shares, is unknown to this record. A claim that MCSK had its operating licence revoked in December 2020 appeared in secondary material during this investigation; it was NOT traced to a document this desk fetched and read, and it is therefore not relied on anywhere in this record.

AFRICHA ENTERTAINMENT'S CORPORATE STATUS COULD NOT BE VERIFIED. Kenya's Business Registration Service operates no public company-search API reachable by this desk, and there is no equivalent of Companies House to query. There is therefore no incorporation number, incorporation date, registered office, director list or shareholder record for Africha Entertainment Limited, and none for any entity answering to the imprint string "Africha Entertainment (WILLY) Limited". A Kenyan registry search on "Africha" returned 0 copyright registrations. This is an access gap, not an adverse finding, and nothing here suggests the company is improperly constituted. Whether the per-artist imprint strings correspond to separately incorporated companies or are purely metadata conventions is unresolved; the Sauti Sol control makes the convention reading much the likelier, but it is not proved.

NO CORPORATE PARTY EXISTS FOR EITHER ARTIST, SO THIS RECORD HAS ONE COMPANY PARTY. Both artists are natural persons here. The Kenyan registration names a person, not a company, and the phonogram lines "℗ 2015 Willy Paul" and "℗ 2023 Gloria Muliro" likewise name individuals. Willy Paul is publicly associated with a label of his own, but no release relevant to this record carries its credit and no register entry for it was obtained, so no company record has been created for it: doing so would assert a corporate existence on this file that no document gathered supports. Africha Entertainment Limited is the only company party, and it is attached as a named distributor in the credit chain, NOT as an owner, licensor or counterparty to any ownership transfer.

NO MUSICBRAINZ ENTITY EXISTS, WHICH REMOVED THE USUAL CROSS-CHECK. A MusicBrainz recording search for "Sitolia" returns count 0. This was checked, not skipped. The ordinary route this desk uses to corroborate label, catalogue number and release relationships was therefore unavailable, which is why the catalogue evidence here rests on two commercial platforms rather than three sources.

STOREFRONT VARIATION WAS NOT TESTED. All Apple credits were read on a single storefront. This record does not establish whether any of the five credits differs by territory, and a reader should not assume they are identical worldwide.

PERSONAL DATA RETURNED BY THE REGISTRY HAS BEEN DELIBERATELY WITHHELD. The public registry endpoint used to locate RZ73377 returns national identity numbers, personal mobile numbers, personal email addresses and town of residence for every registrant matched. None of that is reproduced in this record or in the accompanying article, and the certificate PDF is cited in preference to the query URL for that reason. The exposure has been escalated separately. No part of any finding here depends on a personal identifier.

WHAT WOULD RESOLVE THIS. A split sheet or recording agreement for the 2012 session; any Kenyan registration record predating 2020; a first-person statement from Willy Paul on the current registered position; a statement from Gloria Muliro reconciling the 2013 co-ownership remark with RZ73377; any collecting-society or distributor accounting for either ISRC; or a KECOBO confirmation of which recording RZ73377 actually covers. This record will be updated if any of those is obtained.