East Africa's Top 10 Pop Songs of 2011 ~ #TheYamboSelection

INTRODUCTORY REMARKS:

You will recall that the first list of Africa's Top Pop Songs in #TheYamboSelection series covered only 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. That interest has now resulted in the 2011 list of East Africa's Top 10 Pop Songs, which appears below. 

The procedure for generating the 2011 list derives from the same one used for the period 2014-2016. Click here for all the essential details. 

LIST OF EAST AFRICA'S TOP 10 POP SONGS OF 2011 ~ #TYS

10. Ielewe Mitaa by Fid Q (2011):

9. Ayokya Yokya by Cindy Sanyu (2011):

8. Automatic by Sheebah ft. Sizza (2011):

7. Kila Mmoja by Nonini ft. Lady Bee x Chege TMK (2011):

6. My Reason by Habida ft. Cannibal (2011):

5. Addicted by Camp Mulla (2011):

4. Hula Hoop by Stella Mwangi ft. Mohombi (2011):

3. Crazy by Shaa (2011):

2. Pollination by Radio and Weasel ft. Obsessions (2011):

1. Party Don't Stop by Camp Mulla ft. Collo (2011):

East Africa's Top 10 Pop Songs of 2010 ~ #TheYamboSelection

INTRODUCTORY REMARKS:

You will recall that the first list of Africa's Top Pop Songs in #TheYamboSelection series covered only 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. That interest has now resulted in the 2010 list of East Africa's Top 10 Pop Songs, which appears below. This is it. There will not be a 2009 list, tempting as that year is.

The procedure for generating the 2010 list derives from the same one used for the period 2014-2016. Click here for all the essential details. 

LIST OF EAST AFRICA'S TOP 10 POP SONGS OF 2010 ~ #TYS

10. Nakshi Mrembo by Ali Kiba (2010):

9. Kwe Kunya Kunya by Vampino ft. Cindy Sanyu x Juliana Kanyomozi (2010):

8. Far Away by Ali Kiba ft. Chidi Benz (2010):

7. Stamina (Remix) by Eddy Kenzo (2010):

6. Haturudi Nyuma by Kidum ft. Juliana (2010):

5. Final Mama Ntilie by Ray C (2010):

4. Mkono Mmoja by Temba + Chegge ft. Wahu (2010):

3. Genge Love by Nonini ft. Lady Jay Bee (2010):

2. Moto Moto by French Boy ft. Ray C (2010):

1. Chokoza by Marya ft. Avril (2010):

Africa's Top 25 Pop Songs of 2010 ~ #TheYamboSelection

INTRODUCTION

You will recall that the first list of Africa's Top Pop Songs in #TheYamboSelection series covered only 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. That interest has now resulted in the 2010 list of Africa's Top 25 Pop Songs, which appears below. This is it. There will not be a 2009 list, tempting as that year is.

The procedure for generating the 2010 list derives from the same one used for the period 2014-2016. Click here for all the essential details.

LIST OF AFRICA'S TOP 25 POP SONGS OF 2010 ~ #TYS
[To watch the video clip of a Song, you may have to Right Click the Song's Song's title and then choose the "Open link in new window" option]


25. No Be Mistake by 9ice (2010):

24. Vai Dai Bum by Ary (2010):
Video Clip no longer available

23. Haturudi Nyuma by Kidum ft. Juliana (2010):

22. Final Mama Ntilie by Ray C (2010):

21. Only Me by 2Face Idibia (2010):
Video no longer available

20. Mkono Mmoja by Temba + Chegge ft. Wahu (2010):

19. Moza Girl by Dama do Bling (2010):

18. Lagos Party by Banky W (2010):

17. Champion Remix by General Pype ft Dagrin x Vector x Naeto C x Sasha x GT (2010):

16. Genge Love by Nonini ft. Lady Bee (2010):

15. Kamasutra by Ferre Gola (2010):

14. Holla at Your Boy by Wizkid (2010):

13. Djarabi by Barbara Kanam (2010):

12. Say Ho by Yola Semedo (2010):

11. Give It to Me by D'Prince ft. D'Banj (2010):

10. Logique by Koffi Olomide (2010):

9. Queen by Longombas (2010):

8. Fall In Love by D'Banj (ft. Genevieve) (2010):

7. Ko Ma Roll by Mo' Cheddah (2010):

6. Robot by Koffi Olomide (2010):

5. Moto Moto by French Boy ft. Ray C (2010):

4. Mr. Endowment by D'Banj (2010):

3. Chokoza by Marya ft. Avril (2010):

2. Congo by Koffi Olomide ft. Cindy Le Coeur (2010):

1. Waka Waka (This Time for Africa) by Shakira ft. Unnamed Female Vocalist (2010):

Click here to read a review of this iconic Waka Waka song
Click here for BB Dj's rendition of Waka Waka (2009)

Africa's Top 10 Pop Songs of 2010 ~ #TheYamboSelection

INTRODUCTION

You will recall that the first list of Africa's Top Pop Songs in #TheYamboSelection series covered only 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. That interest has now resulted in the 2010 list of Africa's Top 10 Pop Songs, which appears below. This is it. There will not be a 2009 list, tempting as that year is.

The procedure for generating the 2010 list derives from the same one used for the period 2014-2016. Click here for all the essential details. 


LIST OF AFRICA'S TOP 10 POP SONGS OF 2010 ~ #TYS
[Click on a Song's title to watch the video]


10. Logique by Koffi Olomide (2010):

9. Queen by Longombas (2010):

8. Fall In Love by D'Banj (ft. Genevieve) (2010):

7. Ko Ma Roll by Mo' Cheddah (2010):

6. Robot by Koffi Olomide (2010):

5. Moto Moto by French Boy ft. Ray C (2010):

4. Mr. Endowment by D'Banj (2010):

3. Chokoza by Marya ft. Avril (2010):

2. Congo by Koffi Olomide ft. Cindy Le Coeur (2010):

1. Waka Waka (This Time for Africa) by Shakira ft. Unnamed Female Vocalist (2010):

Click here to read a review of this iconic song, Waka Waka
Also click here to watch enfant BB Dj's prior rendition of Waka Waka (2009)

Africa's Top 5 Pop Songs of 2010 ~ #TheYamboSelection

INTRODUCTION

You will recall that the first list of Africa's Top Pop Songs in #TheYamboSelection series covered only 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. That interest has now resulted in the 2010 list of Africa's Top 5 Pop Songs, which appears below. This is it. There will not be a 2009 list, tempting as that year is.

The procedure for generating the 2010 list derives from the same one used for the period 2014-2016. Click here for all the essential details. 


LIST OF AFRICA'S TOP 5 POP SONGS OF 2010 ~ #TYS
[Click on a Song's title to watch the video]


5. Moto Moto by French Boy ft. Ray C (2010):

4. Mr. Endowment by D'Banj (2010):

3. Chokoza by Marya ft. Avril (2010):

2. Congo by Koffi Olomide ft. Cindy Le Coeur (2010):

1. Waka Waka (This Time for Africa) by Shakira ft. Unnamed Female Vocalist (2010):

Click here to read a review of this iconic song
Click here for BB Dj's rendition of Waka Waka (2009)

January 2017 Web Ranking of African Universities, Plus a Comment on Standards and Higher Education Reform

The latest Webometric Ranking of world universities was released in January 2017. It is an important read. The usual suspects have, more or less, remained/survived at the Top Ten, and even the Top Fifteen -- both globally and, closer to home, on the African continent. 

Whether the latest ranking hints at positional ossification, or a rigid caste system of sorts, is a conversation too early to conclude right now. There is, I suspect, quite a lot of 'ferment' down the ladder -- below 10 or 15. Every university worth its salt very likely spends many 'sleepless' hours in the immediate aftermath of a new release figuring out why it didn't do better, and why those above it don't seem to shake or budge. 

Of course, if there is no one above you that calls for worry -- a defeatist frame of mind, I think -- you still have to look frequently in the rear-view mirror. You can't let your guard down, even though the parameters of interest are not entirely under your control. That state of tension is (should be) healthy, and envelopes everyone with any sort of affinity to his/her university. It's a kind of marathon mentality, this; a basis for wide-ranging progress across the globe such as we all hope to witness. 

Here are Africa's Top 10 Universities (World Rank in brackets):

1. (273) University of Cape Town ~ South Africa
2. (423) Stellenboch University ~ South Africa
3. (458) U. of the Witwatersrand ~ South Africa
4. (499) University of Pretoria ~ South Africa
5. (611) U. of Kwazulu Natal ~ South Africa
6. (724) Cairo University ~ Egypt
7. (734) U. of the Western Cape ~ South Africa 
8. (775) University of Nairobi ~ Kenya
9. (916) Alexandria University ~ Egypt
10. (987) University of Johannesburg ~ South Africa. 

The top five African positions, overall, are taken entirely by South African universities, which also claim seven of the Top Ten. Among these ten universities, the University of Nairobi ranks first (and 11th globally) in terms of Presence, followed by U of Pretoria (219) and Stellenbosch (276). The Impact metric places U of Cape Town first (at 425), followed by U of Pretoria (765) and U of Nairobi (785). The Openness measure puts U of Cape Town first in Africa (262 worldwide), Witwatersrand second (501) and Stellenbosch third (508). Finally, the Excellence criterion has Cape Town first in Africa (260), Witwatersrand second (395) and Stellenbosch third (461).

These worldwide measures certainly remain hard nuts to crack for African universities. More importantly, this state of affairs will not change if certain matters outside of Webometrics proper are not addressed by individual universities, particularly outside South Africa. But even for the leading South African Universities, entropy is an ever-present threat. 

Using the University of Nairobi as an example, I would say this:

1. Government funding of public universities in Africa must be commensurate with their global ambitions and mission -- in terms of teaching, research, innovation and related publications. A well-funded and ethically-run University Press (with online-publications capability) must be integral to this. Donor-funding sounds nice, but has never been the thing to depend on. Dependency on it plainly breeds contempt -- and demeaning relations of the unequal. Local philanthropy would be a help, but we cannot wait while it "grows up".

2. Universities are universal institutions. Consequently: 
(a) The remuneration of academic staff must be globally competitive (and not tied to civil service rates) in order to attract the best brains from around the world, to spur innovation and excellence, and to shield universities from the ever-present danger of a debilitating slide into provincialism and crass ethnicity.

 (b) The student population must reflect this universality-diversity principle. The structure of the student population is crucial in determining whether a university remains stuck at or near the bottom of the global pile, or has real capability to reach for the stars. 

(c) You cannot attract 'global' students in any meaningful way if you do not have, besides globally recognized academia, world class facilities. Besides the facilities earlier mentioned, I'm zeroing in here on affordable 21st century halls of residence for both undergraduate and postgraduate students -- local and foreign. These can be quickly built by means of smart partnerships.

3. University curriculum development (and staff hiring) must be left to university academic and administrative structures, and not hi-jacked by entities set up to manage primary and secondary school curricula. This, I think, is a danger Kenya risks falling into with the current moves to replace the 8-4-4 system with a system which -- certain 'cosmetics' and self-congratulatory statements aside -- it replaced with much fanfare a decade and a half ago! In all this -- this fait accompli -- it is as if university dons must be seen and not heard. No university with global ambitions can survive as an afterthought in government policy-making processes. The rest of the world is watching! 

I happen to believe very strongly that four years of undergraduate learning is good for a university as a distinct institution. It is good, too, for the teaching/administrative staff. It is good for the students, and good (in many ways) for the local community in which the university is embedded. It is good for the country -- and ultimately good for the world community.

READ: Full Rank Order of African Universities, January 2017

Africa's Top 25 Pop Songs of 2011 ~ #TheYamboSelection

INTRODUCTION

You will recall that the first list of Africa's Top Pop Songs in #TheYamboSelection series covered only 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. That interest has now resulted in the 2011 list of Africa's Top 25 Pop Songs, which appears below. 

The procedure for generating the 2011 list derives from the same one used for the period 2014-2016. Click here for all the essential details. 


LIST OF AFRICA'S TOP 25 POP SONGS OF 2011 ~ #TYS

[To view a video clip, you may have to Right Click a Song's title below and then choose the "Open tab in new window" option]

25. Ayokya Yokya by Cindy Sanyu (2011):

24. Automatic by Sheebah ft. Sizza (2011):

23. Kila Mmoja by Nonini ft. Lady Bee x Chege TMK (2011):

22. Back When by Davido ft. Naeto (2011):

21. My Reason by Habida ft. Cannibal (2011):

20. Addicted by Camp Mulla (2011):

19. Molowo Noni by Samklef ft. Wizkid x D'Prince x Ice Prince (2011):

18. Superstar by Ice Prince (2011):

17. Hula Hoop by Stella Mwangi ft. Mohombi (2011):

16. Crazy by Shaa (2011):

15. Ara (Wonders) by Brymo (2011):

14. Jankoliko by Chidinma (2011):

13. Coupe Bibamba by Awilo Longomba (2011):

12. Cache Cache by Awilo Longomba ft. Unnamed Female Vocalists (2011):
Click here to read a review of the song

11. Porte Monnaie by Ferre Gola ft. Gout (2011):

10. Faux Dossier by Awilo Longomba (2011?):
  [The 2011 version of the Youtube video is now unavailable]

9. Oleku by Ice Prince ft. Bymo (2011):

8. Washington by Koffi Olomide (2011):

7. What You Like by Longombas (2011):

6. Mukulu by Skales (2011):

5. Pollination by Radio and Weasel ft. Obsessions (2011):

4. Love Me 3x by Tiwa Savage (2011):

3. Medecin de Nuit by Koffi Olomide (2011):

2. Party Don't Stop by Camp Mulla ft. Collo (2011):

1. Nwa Baby (Ashawo Remix) by Flavour (2011):

Africa's Top 10 Pop Songs of 2011 ~ #TheYamboSelection

INTRODUCTION

You will recall that the first list of Africa's Top Pop Songs in #TheYamboSelection series covered only 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. That interest has now resulted in the 2011 list of Africa's Top 10 Pop Songs, which appears below. 

The procedure for generating the 2011 list derives from the same one used for the period 2014-2016. Click here for all the essential details. 


LIST OF AFRICA'S TOP 25 POP SONGS OF 2011 ~ #TYS

[To view a video clip, you may have to Right Click a Song's title below and then choose the "Open tab in new window" option]

10. Faux Dossier by Awilo Longomba (2011?):
   [The 2011 version of the YouTube video is now unavailable]

9. Oleku by Ice Prince ft. Bymo (2011):

8. Washington by Koffi Olomide (2011):

7. What You Like by Longombas (2011):

6. Mukulu by Skales (2011):

5. Pollination by Radio and Weasel ft. Obsessions (2011):

4. Love Me 3x by Tiwa Savage (2011):

3. Medecin de Nuit by Koffi Olomide (2011):

2. Party Don't Stop by Camp Mulla ft. Collo (2011):

1. Nwa Baby (Ashawo Remix) by Flavour (2011):

Africa's Top 5 Pop Songs of 2011 ~ #TheYamboSelection

INTRODUCTION

You will recall that the first list of Africa's Top Pop Songs in #TheYamboSelection series covered only 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. That interest has now resulted in the 2011 list of Africa's Top 5 Pop Songs, which appears below. 

The procedure for generating the 2011 list derives from the same one used for the period 2014-2016. Click here for all the essential details. 


LIST OF AFRICA'S TOP 5 POP SONGS OF 2011 ~ #TYS

[To view a video clip, you may have to Right Click a Song's title below and then choose the "Open tab in new window" option]

5. Pollination by Radio and Weasel ft. Obsessions (2011):

4. Love Me 3x by Tiwa Savage (2011):

3. Medecin de Nuit by Koffi Olomide (2011):

2. Party Don't Stop by Camp Mulla ft. Collo (2011):

1. Nwa Baby (Ashawo Remix) by Flavour (2011):

This Blog's Milestones at End of January 2017

Here are some milestones of the Mauri Yambo Blog recorded at the end of January 2017:
1. Published posts (all-time): 802 (Dec 2016 = 741)
2. Drafts + published posts back in draft: 57 (Dec 2016 = 46)
3. Pageviews on January 31, 2017 alone: 665 (Dec 2016 = 417)
4. Pageviews in all of January 2017: 24,114 (Dec 2016 = 14,944)
5. All-time pageviews: 405,710 (Dec 2016 = 380,331).

READ: Blog Milestones at End of June 2016

READ: BLOG POSTS: More Milestones Recorded in October 2015

East Africa's Top 10 Pop Songs of 2012 ~ #TheYamboSelection

INTRODUCTION

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 East Africa's Top 10 Pop Songs.

The procedure for generating the Top 10 Pop Songs of 2012 derives from the one used for the period 2014-2016. The same criteria have been used this year (January to December 2012) as were used in the very first sets of lists published in 2014 (25 titles), 2015 (40 titles) and 2016 (40 titles). 

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 a year's complete set of lists of songs and their relative rankings are made very late in December, commentary on any specific titles included on a list will ordinarily appear after their release, which must occur very early in the new year. Where possible, you will find selected links to additional comments or information about individual songs. And where it so happens that certain titles appearing on a list had already been reviewed on this blog in the course of tracking the goings-on in the AfroPop world, links to those reviews will of course be provided under the respective titles. 

Finally, as we start browsing and clicking, let's remember that Top 10 is hallowed space. Only the best songs should populate it, 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.

ALSO READ: Trace TV Video Selection Criteria

LIST OF EAST AFRICA'S TOP 10 POP SONGS OF 2012 ~ #TYS

[Click on a Song's title to watch the video]

10. Matapeli by Jaguar (2012):

9. Can't Let You Go by Radio and Weasel (2012):

8. Viuno Tucheze by Shilole ft. Kitokololo x Rich Mavoko (2012):

7. Feel No Pain by Camp Mulla (2012):

6. Nishike by Sauti Sol (2012):

5. Siri Ya Penzi by Shaa (2012):

4. I Wanna Get Paid by Pah One ft. Shrekeezy (2012):

3. Mpita Njia by Alicios ft. Juliana (2012):

2. Shut It Down by Stella Mwangi (2012):

1. Fantastic by Radio ft. Weasel (2012):

East Africa's Top 5 Pop Songs of 2012 ~ #TheYamboSelection

INTRODUCTION

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 East Africa's Top 5 Pop Songs.

The procedure for generating the Top 5 Pop Songs of 2012 derives from the one used for the period 2014-2016. The same criteria have been used this year (January to December 2012) as were used in the very first sets of lists published in 2014 (25 titles), 2015 (40 titles) and 2016 (40 titles). 

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 a year's complete set of lists of songs and their relative rankings are made very late in December, commentary on any specific titles included on a list will ordinarily appear after their release, which must occur very early in the new year. Where possible, you will find selected links to additional comments or information about individual songs. And where it so happens that certain titles appearing on a list had already been reviewed on this blog in the course of tracking the goings-on in the AfroPop world, links to those reviews will of course be provided under the respective titles. 

Finally, as we start browsing and clicking, let's remember that Top 5 is hallowed space. Only the best songs should populate it, 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.

ALSO READ: Trace TV Video Selection Criteria
LIST OF EAST AFRICA'S TOP 5 POP SONGS OF 2012 ~ #TYS

[Click on a Song's title to watch the video]

5. Siri Ya Penzi by Shaa (2012):

4. I Wanna Get Paid by Pah One ft. Shrekeezy (2012):

3. Mpita Njia by Alicios ft. Juliana (2012):

2. Shut It Down by Stella Mwangi (2012):


1. Fantastic by Radio ft. Weasel (2012):

East Africa's Top 20 Pop Songs of 2012 ~ #TheYamboSelection

INTRODUCTION

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 East Africa's Top 20 Pop Songs.

The procedure for generating the Top 20 Pop Songs of 2012 derives from the one used for the period 2014-2016. The same criteria have been used this year (January to December 2012) as were used in the very first sets of lists published in 2014 (25 titles), 2015 (40 titles) and 2016 (40 titles). 

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 a year's complete set of lists of songs and their relative rankings are made very late in December, commentary on any specific titles included on a list will ordinarily appear after their release, which must occur very early in the new year. Where possible, you will find selected links to additional comments or information about individual songs. And where it so happens that certain titles appearing on a list had already been reviewed on this blog in the course of tracking the goings-on in the AfroPop world, links to those reviews will of course be provided under the respective titles. 

Finally, as we start browsing and clicking, let's remember that Top 20 is hallowed space. Only the best songs should populate it, 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.

ALSO READ: Trace TV Video Selection Criteria
LIST OF EAST AFRICA'S TOP 20 POP SONGS OF 2012 ~ #TYS

[Click on a Song's title to watch the video]

20. Bayuda by Jose Chameleone (2012):

19. Sumbusa by Barbi Jay ft. Eddy Kenzo (2012):

18. Chapa/Fimbo Ya Pili NyeNyeNye by Grandpa Family ft. DNA (2012):

17. Fresh All Day by Camp Mulla (2012):

16. Bad as I Wanna be by Stella Mwangi (2012):

15. Stella Stella Stella by Stella Mwangi (2012):

14. Kitu Kimoja by Avril (2012):

13. Kesho by Diamond Platnumz (2012):

12. Money Lover by Sauti Sol (2012):

11. Kata by Navio (2012):

10. Matapeli by Jaguar (2012):

9. Can't Let You Go by Radio and Weasel (2012):

8. Viuno Tucheze by Shilole ft. Kitokololo x Rich Mavoko (2012):

7. Feel No Pain by Camp Mulla (2012):

6. Nishike by Sauti Sol (2012):

5. Siri Ya Penzi by Shaa (2012):

4. I Wanna Get Paid by Pah One ft. Shrekeezy (2012):

3. Mpita Njia by Alicios ft. Juliana (2012):

2. Shut It Down by Stella Mwangi (2012):

1. Fantastic by Radio ft. Weasel (2012):

Africa's Top 20 Pop Songs of 2012 ~ #TheYamboSelection

INTRODUCTION

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 20 Pop Songs. The procedure for generating the list of Top 20 Pop 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 20 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

LIST OF AFRICA'S TOP 20 POP SONGS OF 2012 ~ #TYS
[Click on a Song's title to watch the video]

20. Fresh All Day by Camp Mulla (2012):

19. Stella Stella Stella by Stella Mwangi (2012):

18. Kitu Kimoja by Avril (2012):


17. Kesho by Diamond Platnumz (2012):

16. "Yes/No" by Banky W. (2012):

15. Money Lover by Sauti Sol (2012):

14. Kata by Navio (2012):

13. Can't Let You Go by Radio and Weasel (2012):
12. Feel No Pain by Camp Mulla (2012):

11. Siri Ya Penzi by Shaa (2012):

10. Dami Duro by Davido (2012):

9. Ekuro by Davido (2012):

8. Pili Pili by Awilo Longomba (2012):

7. I Wanna Get Paid by Pah One ft. Shrekeezy (2012):

6. Like to Party by Burna Boy (2012):

5. Mpita Njia by Alicios ft. Juliana (2012):

4. Shut It Down by Stella Mwangi (2012):
Click here t read a review of Shut it Down


3. Oyi Remix by Flavour Ft. Tiwa Savage (2012):
Click here to read a review of Oyi Remix

2. Fantastic by Radio ft. Weasel (2012):
Click to read a review of Fantastic


1. Oliver Twist by D'Banj (2012):