You will recall that the first list of Africa's Top Pop Songs in #TheYamboSelection series covered calendar year 2014. The second list covered 2015. However, while working on the various 2016 lists, interest in covering a few earlier years continued to grow. This interest has now resulted in this 2012 list of Africa's Top 10 Happiest Songs. The procedure for generating the list of Top 10 Happiest Songs for the year 2012 derives from the one used for the period 2014-2016.
There is just so much really good lay music out of Africa these days that you sense you are not doing anyone justice by listing less rather than more; but there is a limit to any leeway. The listing task requires more and more meticulous attention because of growing complexity arising from a discernible and laudable burst of creativity up and down sub-Sahara, and with easier and faster online access to artists' creations, and 'the market'. Every region seems to be catching up with the 'pioneers' and demanding attention by sheer activity and flashes of brilliance. No one can sit on their laurels.
The focus of this list is the song, not the singer, with the added requirement that only songs in video form qualify. In addition, the song must broadly fit the standard definition of popular (or pop) music; that is, music in any of these distinct genres, or any combination of them: Benga, Blues, Bongo Flava, Genge, Hip Hop, Kwaito, RnB, Rap, Reggae, Rock, Soukous or Soul. We are not dealing here with gospel, classical or traditional music as usually understood; although borderline cases or creative partial 'fusions' with them will always be considered.
Given that final decisions concerning the complete list of Top Songs and their relative rankings are made very late in December, detailed commentary on the leading titles could not be assured prior to the release of the list, which must occur very early in the new year. Any reviews that follow the publication of this Top 10 list will be published on this blog or elsewhere.
Finally, as we start browsing and clicking, let's remember that only the best songs should populate the series of lists in #TheYamboSelection, in proper order, regardless of country or sex or language or ethnic identity or religion, or race; and here they do. In 'best songs' we include only those songs in which the singers have made patently creative use of those elements that characterize all music (of which pop is an integral part) in order to give them (the songs) superior appeal to the average or accomplished ear. These elements are: Tone, melody, harmony, beat, rhythm, pitch, audibility, tempo, and the visual impact. You may also distill these elements into VSO -- that is Voice, (instrumental) Sound and Optics -- or, more traditionally and broadly, audio-visual.
Pop music is 'popular' in the sense that it resonates with large publics, in their present (or day-to-day, or contemporary) circumstances. If it is not pop, it is traditional in orientation, and thus locked in, and into, the past. Over time, it is important to realize, day-to-day begins inexorably to provide a break with what we may call the past. This is distinctly the case in multicultural environments, or the 'melting pots' of deep-urban localities.
As already pointed out, #TheYamboSelection rates only music videos. The point here is that an artist who does not release the video version of a song is simply not ready for big time with that song. Fans nowadays want to see what's going on with the artiste and his or her 'band' while the song is sung. Today's pop scene, it seems obvious, is inescapably audio-visual. Sound quality matters, exceedingly; and so does the quality of the visual dimension. And let's not forget that the production of a video is a cooperative venture between the artiste(s) and the video director/producer. The latter do deserve credit too when things go really right.
Success demands that the audio-visual challenge be simultaneously attacked from two perspectives: (a) From the performance perspective, the artiste's obligation is to produce the vocals, the lyrics and the dance or 'stage' routines (the 'body text') that together signify, accentuate or enhance his or her persona in the eyes and ears of the fans; and, (b) From the recording perspective, both the sounds (in all their permutations and combinations) and the visuals are technically the responsibility of the cinematographer and/or the video director/producer.
The artiste must therefore choose very carefully, and it costs a tidy sum to commit the people who can produce a video of high technical and artistic quality. Indeed, as directors such as Clarence Peters, Justin Campos, MattMax, C.A.R.D.O.S.O and Moe Musa know -- and as those who know their work do too -- the task of directing/producing a winning music video is not merely a technical challenge but a demanding creative-artistic one as well. This does of course rope in the actors and the artistes, as everything visual converges on the set. Certainly, the dancing and other forms of acting must be well choreographed for the camera and synchronized with the song, even if the sound of a particular single or track comes to the set pre-recorded.
The naming of more than one hit inevitably prompts the question as to which hit comes first, and which next or last. Sometimes, all too often perhaps, there are ties which must be broken and songs which must thus, regrettably, be excluded. The more valued the list, the greater the regret all around.
In selecting and ranking Africa's Top Songs -- limited to Sub-Sahara as already indicated -- the following six criteria (each on a scale of 1 - 5, with 5 being the highest score) have served as a guide (and thus an otherwise altogether qualitative proposition is tempered with a known procedure):
1. The creative appeal and musicality of the voice asset.
2. The choice and mastery of the musical instruments in play.
3. The poetic form and content of the lyrics.
4. The artistic and aesthetic depth of the video component.
5. The synchronic or choreographic quality of the audio-visual product, in terms of: harmony, tone, melody, rhythm, beat and color (dis)play.
6. Based on the foregoing, how the entire single/track, from beginning to end, impresses me -- or makes me feel about my encounter with it. This criterion also serves as a qualitative tie-breaker; that is, a virtual 'casting vote' whenever any other criteria yield a quantitative tie between songs.
In addition to the six criteria, the maximum number of listed titles under which an artist may be indicated as the lead singer in a given year is firmly restricted to three; but there is no limit to the number of times an artist may feature or make cameo appearances in listed songs or videos.
READ: Trace TV Video Selection Criteria
[Click on a Song's title to watch the video]
10. Viuno Tucheze by Shilole ft. Kitokololo x Rich Mavoko (2012):
9. Feel No Pain by Camp Mulla (2012):
8. Siri Ya Penzi by Shaa (2012):
7. Ekuro by Davido (2012):
6. Pili Pili by Awilo Longomba (2012):
5. I Wanna Get Paid by Pah One ft. Shrekeezy (2012):
4. Like to Party by Burna Boy (2012):
3. Shut It Down by Stella Mwangi (2012):
Click here t read a review of Shut it Down
2. Oyi Remix by Flavour Ft. Tiwa Savage (2012):
Click here to read a review of Oyi Remix
1. Fantastic by Radio ft. Weasel (2012):
Click to read a review of Fantastic
No comments:
Post a Comment