While many singers pour out their hearts, souls and guts to articulate Trinh Cong Song’s lyricism, my Lady Lan didn’t have too. She approached his music as quiet as meditating. On “Dem That Ta La Thac Do,” her lithe delivery reinvigorated the standard. I could simply block out the arrangement and enjoy the purified acapella performance by itself. Even the sunlight was touched with the way she phrased “goi nang” on “Ha Trang.” Furthermore, Tham Lam’s feathery sound on the sax floated like clouds around Ngoc Lan’s ethereal vocals. With “Chieu Mot Minh Qua Pho,” her sense of simplicity created a gorgeous graphic of a lovely lady strolling down the lonely town. When Thanh Lam’s languorous sax took over the break, the sound added filmic details to the scene. (Can’t help it, I have been making too many motion pieces lately). Even on the mid-tempo like “Ben Doi Hiu Quanh” and “Biet Dau Nguon Coi,” her flows were still effortless and she never missed the beats. On “Xin Mat Troi Hay Ngu Yen” and “Roi Nhu Da Ngay Ngo,” she moved toward the upper register without breaking a sweat. Again her coolness and gracefulness refreshed “Nhu Canh Vat Bay” and “Diem Xua.” Then she gave “Ru Em Tung Ngon Xuan Nong” a soul-soothing rendition. Donny, stop worshiping the ground she spitted on. I know but I can’t help it, honey! At least I am doing it out of pure love, unlike some record company who threw together an album, Ngoc Lan va Dong Nhac Trinh Cong Son: Nghe Tieng Muon Trung, to make some money.