Get ready to vibe with the biggest tracks from YYMG! This playlist brings together our most popular, crowd-favorite songs that are making waves across the globe. From Afrobeat bangers to smooth R&B vibes and energetic AfroTrap hits, experience the signature YYMG sound all in one place. Perfect for fans, new listeners, and anyone looking to stay ahead of the music trends.

YYMG Hits: Best of the Label

Velocity explores the electric intensity of love and desire — that unstoppable force that moves us beyond control, blending passion with tenderness. It’s about surrendering to the moment, feeling the pulse of connection that makes time slow and speed up all at once. The song captures how love can strip us down to our rawest selves, igniting both vulnerability and power in an unforgettable rush.

For anyone who’s ever felt that rush of emotions when two souls collide, Velocity is your soundtrack.

Velocity

“Fo’ Da” is a contemporary exploration of romantic realism, wrapped in themes of materialism, global sensuality, and emotional contradiction. The lyrics, written by Aime Pandi Bapaga, follow a narrator who finds himself caught between the warnings of society and his own desire to surrender to a complex, mesmerizing woman. The song is a bold reflection on love in the modern age—where attraction, risk, and value systems collide.
✨ Central Conflict: External Perception vs. Internal Experience
The narrator is being warned to stay cautious—yet he refuses. He chooses experience over fear, emphasizing that people on the outside can’t truly understand what’s between him and this woman. The chorus repeats a key theme: while she may seem like a materialist chasing brands (“Gucci and Prada”), the narrator insists there’s more depth to her. She “ain’t no digger”—just a woman fluent in the codes of contemporary luxury and ambition.

🌀 Themes and Symbols

1. Ambiguity of Intention
The woman’s motives are unclear. She’s seen in luxury spaces—from Jeddah to Rabat to Prague—and drawn to symbols of wealth. But the narrator resists labeling her, reflecting the philosophical idea that true human intentions often lie beyond what can be judged externally. He accepts that ambiguity and leans into love anyway.

2. Romantic Risk as Freedom
In the bridge, the narrator’s defiance peaks: “Stop telling me to tread with caution / I don’t want to be cautious at all.” This expresses a Nietzschean idea: love, desire, and meaning require embracing fate, including the risks. Better to live fully than half-heartedly avoid hurt.

3. Materialism Without Shame
Repeated lines like “excavatin’ me, for the Gucci and Prada” show how desire and consumption are intertwined. Yet rather than condemning her for being materialistic, he frames it as part of her worldly authenticity—not corruption. In doing so, he critiques simplistic moral binaries that treat wealth attraction as moral failure.

4. Mythic Femininity
She’s referred to as “a genie in a bottle”, linking her to fantasy and myth. But instead of demonising this projection, the narrator respects her mystery. She becomes a muse—not because she’s innocent, but because she’s powerful, self-aware, and captivating.

🫀 Emotional Core and Final Plea
The outro delivers a vulnerable twist: “Gaslight me, haze me, hate me — but not her.” It’s a statement of loyalty, a decision to shield her from the scorn of others. He’d rather be misunderstood himself than let her be vilified. It’s love as protection, not possession.
________________________________________

📌 Takeaway Philosophy of “Fo’ Da”
• Love doesn’t need to be perfect to be real.
• Desire can be sincere, even when tied to luxury.
• Risk is essential to meaning.
• Labels can’t define the people we love.
“Fo’ Da” stands as a philosophical anthem of romantic defiance, where emotional truth is chosen over societal approval, and where materialism and myth coexist with tenderness and rebellion.
—
Lyrics by Aime Pandi Bapaga
Performed by Various World Artists
Produced by NuVox

Fo' Da

Fo' Da  - Vol. 13

“Chickens” is not about poultry—it’s about perception. It’s a coded street sermon, a swaggering allegory on survival, cowardice, flexing, and freedom.

Over a beat that snaps with dancehall intensity and Afrocentric bounce, “Chickens” unpacks the pecking order of life: who’s clucking, who’s flying, and who’s just squawking with no wings to show for it.

The track blends rhythmic heat with lyrical shade—punchlines flap fast, baritones thump heavy, and the hook comes for necks. Yet underneath the humour and heat, there’s philosophy: Are you moving like a chicken—easily scattered, easily scared—or are you building flight?

It’s part satire, part sonic slap, and fully alive with attitude. The kind of track that struts into the room, dares the dancefloor, and calls out anything fake.

In this coop, only the bold lay legacy.

Chickens

A NuVox Workout fuelled by Coco Spherg.

O' Where Out Thou:
Lyrics by Aime Pandi Bapaga

Happy were the days I loved my mother like the heavens
Happy were the days I fell in love with Becky Evans 
Happy were the days I rounded numbers to the sevens
Happy were the days I smoked all night in studio sessions
Happy were the days I had faith in first impressions
Happy were the days I joined C4 and pledged my legions.
Happy were the days, Happy were the days
Happy were the days, Happy were the days
Happy were the days, Happy were the days
Happy were the days, Happy were the days

Happy were the days that mum was paid on monthly basis
Happy were the days she’d come home to bright and smiley faces
Happy were the days she could pay dental fees for braces 
Happy were the days we’d read commandments set by Moses
Happy were the days my rabbi taught me to love the masses 
Happy were the days social class was impertinent.	
Happy were the days, Happy were the days
Happy were the days, Happy were the days
Happy were the days, Happy were the days
Happy were the days, Happy were the days

Happy were the days the mind turned darkness into light 
Happy were the days the prophet had the will to fight 
Happy were the days no one would glee at someone’s plight 
Happy were the days outliers were taken off the data 
Happy were the days Bob Marley vowed to Jamaica
Happy were the days stood a man, I called father 
Happy were the days, Happy were the days
Happy were the days, Happy were the days
Happy were the days, Happy were the days
Happy were the days, Happy were the days

O’ Where out thou?
Happy, happiness
Happy, happiness
Happy, happiness
Happy…

O’ Where out thou?
Happy, happiness
Happy, happiness
Happy, happiness
Happy…


Feeling too grown up here without you 
Feeling too grown up here without you 
Feeling too grown up here without you 
Feeling too grown up here without you 
Feeling too grown up here without you 
Feeling too grown up here without you 
Feeling too grown up here without you 
Feeling too grown up here without you 

2025 YYMG

O' Where Out Thou

The philosophy behind Giants and Angels revolves around the tension between inner imagination and outer reality, blending themes of existential longing, emotional refuge, and the metaphysical interplay of forces (giants and angels) that govern the inner world.

Here’s a breakdown of the deeper philosophical messages embedded in the lyrics:

________________________________________
🧠 1. The Imaginative World vs. Real Life
The song constructs a personal realm of imagination as both a shelter and a battlefield:
"Lost in a world of my own designs..."
"Giants and angels roam in my creation..."

This speaks to the philosophical idealism of thinkers like Plato or Berkeley, who argue that reality is shaped or even created by the mind. The narrator lives in a mental space rich with symbols—giants (struggles, fears, aspirations) and angels (hope, grace, love).

________________________________________
🌳 2. Nature as Spiritual Portal
References to the baobab tree, whispers of wind, and the riverside point to pantheistic or animist ideas: that nature is alive, sacred, and communicative. The baobab, in African culture, often represents wisdom, community, and ancestral presence.

"Beneath the baobab tree I keep dreaming of you..."
"Is it in whispers of wind, by the riverside?"
Here, the natural world becomes a spiritual threshold, where memory, imagination, and desire converge.

________________________________________
❤️ 3. Love as Metaphysical Quest
The repeated longing for a love that is "so real" reveals a Platonic yearning—not just for romance, but for a transcendent, healing union.
"I'm yearning for a love that feels so real..."
"In this sanctuary, let passion heal."

This search is more than romantic—it's ontological. The narrator seeks wholeness, the kind of completion only found in a metaphysical or divine connection.

________________________________________
🔮 4. Giants and Angels as Internal Archetypes
The titular "giants and angels" serve as Jungian archetypes—personifications of the forces within us. Giants represent our internal conflicts, doubts, ambitions, while angels stand for our moral compass, inspirations, and the divine within.

They "roam" the inner world, suggesting that our emotional lives are populated by spiritual metaphors, constantly shifting and influencing our sense of self and direction.

________________________________________
🏞️ 5. Sanctuary and Escape
The idea of going to "somewhere only we know" or "that sacred place" is not escapism—but a yearning to reclaim innocence, vulnerability, and authenticity in a world that feels fragmented.

"So why don't we go... somewhere only we know?"
"In this world of make-believe, we'll find our truth..."
This echoes existentialist thought (e.g., Kierkegaard or Camus) where the individual seeks meaning not in external systems, but in subjective truth and authentic connection.

________________________________________
✨ Conclusion: A Song of Internal Pilgrimage
"Giants and Angels" is a philosophical song about the human condition—caught between the real and the imagined, haunted by the past, craving love, truth, and sanctuary. It asks not just where we can go to find peace, but who we are when we close our eyes and dream.
The answer, the song suggests, lies in daring to merge dreams and reality and to find someone who will walk with us into the unknown.

Giants and Angels (Vol.3)

The philosophy behind Giants and Angels revolves around the tension between inner imagination and outer reality, blending themes of existential longing, emotional refuge, and the metaphysical interplay of forces (giants and angels) that govern the inner world.

Title: Giants and Angels 
By Aime Pandi Bapaga

[Verse 1] 
Lost in a world of my own creation 
Navigating streets seeking revelation 
Amidst the crowds wanderin' in silent daze 
Each step a plea for unbleeding counts 
Beneath a barber tree where drinks take life 
Your whispers beacon through the silent night 
Drifting to where our lost flames ignite 
In the restlessness of my mind's quiet site 

[Bridge] 
Giants and angels in my mind, they roam 
Yet I crave a simple place to call my own 
Searching for solace in scenes I have sown 
In this frame where dreams are grown 

[Chorus]
Oh, in my imagination, where do you lie? 
Is it in whispers of wind by the riverside? 
Yearning for love so tangible and real 
In this sanctuary, where passions heal. 

[Hook]
(Heal me, heal me, heal me, heal me)
(Heal me, heal me, heal me, heal me) (Oh) 

[Verse 2] 
If only you would cross my hand with me afar 
To where dreams and realities form 
In this world of make-believe, truth unfurls 
In the timeless fastness of dreams swirls
 
[Bridge] 
Giants and angels in my mind, they roam 
Yet I crave a simple place to call my own 
Searching for solace in scenes I have sown 
In this frame where dreams are grown 

[Chorus]
Oh, in my imagination, where do you lie? 
Is it in whispers of wind by the riverside? 
Yearning for love so tangible and real 
In this sanctuary of passions healed 

[Outro Hook]
(So why don't we go) 
(Heal me, heal me, heal me, heal me) 
(And my old flame is) (Oh) 
(This could be the end) 
(Why don't we go) 
(Or the beginning) 
(Why don't we go) 
(Why don't we go) 
(Why don't we go somewhere) 
(Oh yeah) 
(Oh yeah) 
(Oh yeah) 
(Oh yeah) 
(Oh yeah) 


Giants and Angels

“Gone Too Far” is a meditation on emotional retreat — a soul’s quiet resistance after too many collisions with pain. The track begins with a soft cry against chaos (wahala), as the protagonist drifts further into stillness, choosing numbness over noise, and silence over survival.

Love once lifted her, made her light — but gravity always returns. What was once flight becomes exile, and the heart learns to protect itself the only way it knows how: by disappearing.

The song does not scream, it surrenders — not to weakness, but to boundaries. Each verse is a chapter in her story of departure: from joy, from connection, from herself. The repetition of pain is not for emphasis, but to show how trauma becomes rhythm — and how rhythm becomes the only thing left pulsing when the soul grows quiet.

“Gone Too Far” is not just about heartbreak. It’s about the delicate, dangerous freedom of letting go — when choosing to feel nothing seems safer than feeling everything.

Gone Too Far - Volume 12

A club banger from NuVox! from the Velocity Catalogue.  

🪘 Bongos and Tam-tams – NuVox🎤
🔥 Produced by NuVox | Beat by NuVox & Coco Spherg | Executive Production: YYMG 🔥

From the first beat drop to the final “Too-too doo-too,” "Bongos and Tam-tams" is a high-energy Afro-dance explosion made for hips, drums, and wild motion. NuVox rides a pulsating beat with bold flair, calling dancers to swirl and ripple to the rhythm of life.

A tribute to African percussion culture, this track fuses Afrobeats, Dancehall, and club-ready street chants. With seductive repetition, crowd chants, and infectious percussion lines, it’s a global rhythm journey—from Lagos to Rio, Cairo to Atlanta.

💃🏾🕺🏽 Whether you’re in the club, in your living room, or under the sun at Carnival—this one’s for the movers, the shakers, and the rhythm-lovers.

🌍 Best enjoyed loud.
| Genre: Afro-Dance / Percussive Pop

Bongos & Tam-Tams

Bongos and Tam-tams

Bongos and Tam-tams (9)

🚨 OUT NOW — “JAILER” 🚨
🔗 Listen Now:
🎧 Spotify: [https://open.spotify.com/track/2GP01PHOslIbgFGkiyuOLK]
🎧 Deezer: [https://link.deezer.com/s/30wRJyEImjqYHB7pHPB9M]
🎧 Apple Music: [https://music.apple.com/us/album/1824649718?i=1824649719]


Some prisons have no bars — just broken promises.
________________________________________
“Jailer” — A Soulful Cry Wrapped in Rhythm.
What if love wasn’t freedom, but a sentence?
"Jailer" is an Afrofusion heartbreak anthem that dares to ask this question. A haunting blend of Afro-trap drums, Zouk grooves, and Congolese rumba guitar creates the sonic cell where a woman’s voice aches for liberation.
🎙 The Sound:
Slow-burning. Danceable. Undeniably emotional.
This track pairs smooth melodies with raw vulnerability, making sadness something you can dance through — and grow from.
________________________________________
💔 Lyrical Themes That Hit Deep:
1. Love as Captivity
A home with "a roof and four walls" becomes a prison. Love isn’t always safe—it can trap, wound, and break.
2. Gaslighting & Emotional Manipulation
Reality twisted. Trust eroded. The lyric “gaslighting, I misunderstood” echoes the silent confusion of emotional abuse.
3. Desire & Pain in Motion
The beat moves your body, but the lyrics hit your soul. It's the kind of contradiction only toxic love understands.
4. Reclaiming Power
“No more.” “I can’t.” These aren’t cries of surrender—they're battle cries of a woman breaking free.
5. A Woman’s Testimony
With a female vocalist at the helm, “Jailer” speaks to generations of women who’ve been silenced. This is her voice. This is her revolution.
________________________________________
✨ Tagline:
“Some prisons have no bars — just broken promises.”

Jailer

Jailer by NuVox

“Ina Jo” is a nostalgic hymn to the fire that raised us — the crackle of cassette tapes, the pulse of Brenda Fassie under mango trees, and the sacred basslines of Fela, Makeba, and King Sunny Adé. Caeli August channels a generation’s longing for raw, analogue soul in a digital age obsessed with speed and trends.
A love letter to the old school, “Ina Jo” moves between groove and memory — echoing spirituality, vinyl scratches, and rhythms that burn slow and deep. No algorithms. Just static, soul, and sonic truth.
Retro Afro-soul warmth meets analogue textures in this uplifting, urgent ~86 BPM track. Afro-electronic rhythms fuse with synth bass, live percussion, and chopped vocal samples. Cinematic R&B strings and lush keys build a sense of tension and resolve. Protest-pop hooks burst open through processed group chants, while intricate layering and pulsing beats energize throughout — culminating in a haunting synth coda that lingers long after the fire fades.


🔥 No likes. No feeds. Just the fire that made us. 🔥

Title: Ina jo  
Performed by Caeli August | Written by Aime Pandi Bapaga | Produced by NuVox

[Intro]
(Mmm-mmm, yeah...)
I don't want no updates
Don't need a new sound wave
NuVox, Ina jo - ina jo.

[Verse 1]
I don't want new music,
Just the old school on the radio.
Dial it up on my stereo,
Find my favourite show.
Brenda Fassie’s voice sweet like honey,
Playing back to memory I know.
Cadet skirt, skipping - dancing solo
Under mango trees, sweet like a carol.

[Pre-Chorus]
I want the noise, but no feeds,
Wind back my deepest needs.
Analogue bassline setting me free,
Give me tapes, not MP3s.

[Chorus]
I don’t want no algorithms,
Just the static and the rhythm.
Cassette winding like a prayer,
Fela Kuti singing in the air.
No new beats can take me higher,
Than a crackle on the wire.
I just want the old school,
That old school fire.

[Echoed Choir]
(Fire – fire – fire) (Fire till I tire) Tire-tire-tire yeah,
(Fire – fire – fire) (Fire till I tire) Tire-tire-tire yeah.

[Verse 2]
Skip the shuffle, skip the trends,
Give me soul that never ends.
Let Mama’s spirit echo in my tone,
Vinyl scratches feel like home.
Cadet blues and golden frames,
Each song recalls an old flame,
How I danced barefoot back in time,
To Mirriam Makeba sacred rhyme.

[Pre-Chorus]
No more clicks, no filtered scenes,
Just the raw and in-between.
Let the echo carry me
Where the music used to be.

[Chorus]
I don’t want no algorithms,
Just the static and the rhythm.
Cassette winding like a prayer,
King Sunny Ade humming in the air.
No new beats can take me higher,
Than a crackle on the wire.
I just want the old school,
That old school fire.

[Echoed Choir]
(Fire – fire – fire) (Fire till I tire) Tire-tire-tire yeah,
(Fire – fire – fire) (Fire till I tire) Tire-tire-tire yeah.

[Bridge]
There’s magic in the chorus of a world that moved too slow...
No likes, no streams — just stereo.
Rewind me there. Don’t let it go.

[Final Chorus – variation]
I don’t want no fast connection,
I want rhythm with reflection.
Let the needle kiss the groove,
That's the only way I move.
No fresh drops can touch the choir
That raised me through the amplifier.
I just want the old school,
That old school fire...

[Outro - Echoed Choir]
(Fire – fire – fire) (Fire till I tire) Moto wa zamani,
(Fire – fire – fire) (Fire till I tire) Ina jo, ina jo,
(Fire – fire – fire) (Fire till I tire) Moto wa zamani,
(Fire – fire – fire) (Fire till I tire) Ina jo, ina jo,
(Fire – fire – fire) (Fire till I tire) Moto wa zamani,
(Fire – fire – fire) (Fire till I tire) Ina jo, ina jo,
(Fire – fire – fire) (Fire till I tire) Moto wa zamani,
(Fire – fire – fire) (Fire till I tire) Ina jo, ina jo,


Ina Jo (Vol. 5)

FOLLOW + COMMENT + SHARE + REPOST!!!

Produced by NuVox.
Original lyrics by Aime Pandi Bapaga.


Song Philosophy:

"Maybach Dreams" explores the themes of existence, materialism, meaning, class consciousness, spiritual materialism, the ethics of power, repetition and chanting as rituals, post-colonial visibility, and sonic migration. The title of the piece suggests that the Maybach represents success, wealth, and global prestige while also representing a desire for transformation rooted in hardship. This idea aligns with Sartrean ideas of existence preceding essence, where the self is not a fixed product of circumstance but something actively shaped by will, suffering, and choice. This is rooted in phenomenology, which suggests that perception is always subjective and that the external world only takes shape through human consciousness. 

The concept of an "ecosystem" brings balance to life, moving beyond personal triumph into spiritual ecology. Gospel choir vocals, echoing harmonies, and humming bridges suggest a metaphysical dimension where spiritual alignment is part of material success. This resonates with African metaphysical worldviews, where prosperity is not merely a result of labour but a manifestation of divine or ancestral alignment.


MAYBACH DREAMS Lyrics: by Aime Pandi Bapaga

You sabi say money dey talk, money dey work,
If you hold money, everywhere go shine, e dey soft.
You go waka raise shoulder, no wahala for mind,
Bills dem clear, house matter don balance fine.

But that time wey no money, money, money,
Pockets dry, no jingling, just dey funny,
Life no sweet reach honey,
Wetin I see, e scatter like rocket wey dey run for sky.

Wetin dey real and wetin you see, dem no be same,
I don suffer sotay, diamond ring no fit cover pain.
Now I dey inside system wey dey balance my head,
Gatekeepers dey block me from heart wey dey bleed.

I dey live my life how I wan (how I wan, how I wan…)
Dey spend my money how I wan (how I wan, how I wan…)
I dey wake any time wey I wan (wey I wan…),
No rewind, na front I dey chase you.

Muh-huh huh, muh-uh uh huh,
Muh-huh huh, muh-uh uh huh,
Muh-huh huh, muh-uh uh huh,
Muh-huh huh, muh-uh uh huh.

Na celebration after celebration, joy dey overflow,
Happiness full like river, e no dey low,
All di hustle, tears, blood and sweat don pay,
Maybach roll out, I don upgrade my way.

From those days wey no money, money, money,
Nothing jingle, e dry like harmattan morning,
Life no sweet like honey,
But now fan base dey pop like bunny.

Wetin dey real and wetin you see, dem no be same,
I don pass through fire, no diamond fit cover shame.
Now I dey inside system wey dey balance my head,
Gatekeepers dey guard me, no more heart wey red.

I dey live my life how I wan (how I wan, how I wan…)
Dey spend my money how I wan (how I wan, how I wan…)
I dey wake any time wey I wan (wey I wan…),
No replay, na you I dey run go.

Muh-huh huh, muh-uh uh huh,
Muh-huh huh, muh-uh uh huh,
Muh-huh huh, muh-uh uh huh,
Muh-huh huh, muh-uh uh huh.

Muh-huh huh, muh-uh uh huh (I dey live my life how I wan),
Muh-huh huh, muh-uh uh huh (I dey spend my cash how I wan),
Muh-huh huh, muh-uh uh huh (I fit wake up when I wan),
Muh-huh huh, muh-uh uh huh (No rewind, na forward I dey go).

Watch me glow, blow, then glow — just dey go, huh-huh,
Money dey talk, e dey work, e make body dey glow...
Watch me shine, cruise, then glow — no dey slow, huh-huh,
Na me be that — just watch me, yeah, yeah, yeah…



Maybach Dreams (SoundCloud Mastered)

YYMG (Ya’ Yo Miziki Global) is a pioneering international record label dedicated to producing and releasing premium, boundary-pushing music for the global stage. Specializing in world music and genre fusion, from Afrotrap and Afrofusion to Samba, Dancehall, and unexpected experimental blends, YYMG brings a bold, innovative sound that resonates across cultures and continents.

At our core, we believe in the transformative power of music. Through high-quality production and genre-defying artistry, we aim to elevate listening experiences, stimulate cultural curiosity, and contribute to the mental and emotional growth of our audience.

Whether we’re developing emerging voices or collaborating with global talents, our mission is clear:

> To craft timeless music that challenges borders and sets new standards for creativity and sonic excellence.



YYMG music is globally distributed and available on all major digital streaming platforms, including:

🎧 Spotify, Apple Music, iTunes, YouTube Music, Amazon Music, Tidal, Deezer, Boomplay, Pandora, iHeartRadio, Saavn, Tencent Music, NetEase, ClaroMusica, Yandex Music (beta), Triller (beta), MediaNet, Twitch Soundtrack, and more.

Socially engaged and digitally active, you can also connect with YYMG via: 

📱 Instagram, Facebook, TikTok, Resso, and YouTube
