Will Smith is mad and he is not taking any heat from that “fat, ugly chic in New York on the radio, saying [he’s] gay.” Will takes a stab at Wendy Williams on one of his angry tracks, “I Wish I Made That/Swagga.” He actually says the F. word on his latest album Lost & Found.

Like his previous recordings, Will has a handful of tracks for the club heads including “Party Starter,” “Switch,” and Snoop’s combo “Pump Your Brakes.” Unlike his previous recordings, however, he has a few issues to get off his chest. On”Tell Me Why,” along with Mary J. Blige, he touches on September 11 and the war on Iraq. “Mr. Nice Guy” hits Em up and Ms. Williams too. The title track “Lost & Found” takes it out on the rappers, ” Why should I try to sound like ya’ll sound? / that’s what’s wrong with the rap game right now / Man, it’s like a circus wit a bunch of clowns.”

While Will claims to be original, doesn’t he sound like DMX when he starts off “Party Starter” with, “get on the floor?” Doesn’t his flow resemblance Rakim on the first verse and Lloyd Banks on the second verse of “Wave Em Off?” Could “Could U Love Me” be 50’s “21 Questions?” Let’s not mention his true story “Loretta” reminds us of Eminem’s “Stan.”

If Dam Vinh Hung’s second live show, Gio H, is not as exciting as his first, Trai Tim Hat, that is because he is not new anymore and we know how his strategy works. Despite his poor judgment on the outfits and his rhythmless dance steps, his vocal wizardry is still the whole show. His strong voice allows him to performance twenty songs live, no lip-sync required.

Hung covers many popular songs from his last three albums including Nguyen Nhat Huy’s “Neu Co Yeu Toi,” Trinh Cong Son’s “Ben Doi Hiu Quanh,” Duy Manh’s “Giay Phut Chia Xa,” and Truong Le Son’s “Chen Dang.” Like the first concert, he invites guest singers to join him. Aside from the returning of My Tam (she looks so sensual in that white Vietnamese long dress) and Hong Ngoc, the special appearance of his mentor Thanh Lam is the best part of the show. Their duet performance on Thanh Tung’s “Giot Nang Ben Them” is breathtaking, and Lam’s vocal manipulation is amazing. Supplemented by Le Minh Son’s intricate finger-picking guitar, both Lam and Hung are remarkable on Thuan Yen’s “Chia Tay Hoang Hon.” Another beautiful collaboration is Tuong Van’s “Tieng Gio Xon Xao.” Backed up by AC&M, Hung gives a fantastic a cappella presentation.

Hung hits the mark on most of his performances except for a few. Despite the contemporary jazz arrangement, the remix version of Tran Quang Nam’s “Muoi Nam Tinh Cu” doesn’t sound fresh at all. Hung doesn’t seem to float with the beat. His duet with Nhu Y on Nguyen Nhat Huy’s “Dem Co Don” is a mismatch. When they sing the chorus, her voice is nowhere to be heard. The show is closed with “Feliz Navidad,” which becomes an incredibly annoying song, and Hung’s imperfect English only makes it worse. No one is perfect, but at least Hung gives a hundred percent of his effort on Gio H. Even though his style is not surprising anymore, the concert is still enjoyable.

I took a few days off work to unwind and chill with the fam. Surprisingly, the album I listened to the most while relaxing was Do Bao’s Canh Cung (Bow Back). Unlike his intricate and colorful production on Nhat Thuc, Canh Cung featured easy-listening melodies and easy-following lyrics that are attractive to young audiances.

The CD opener, “Buc Thu Tinh Thu Hai” (The Second Love Letter), is the catchiest track on the record. Backed by a sensational arrangement, Ho Quynh Huong leads a persuading performance that has been stuck in my head ever since I first heard it. I am still humming to the tune even though I can’t remember the words. True to its title, “Dieu Ngot Ngao Nhat” (The Sweetest Thing), is the sweetest performance on the album by the sweetheart Tran Thu Ha. Beside her voice, Huy Dat’s flute and Tran Hoa’s whistle added a marvelous sound to Do Bao’s jazz arrangement.

Canh Cung also featured two male vocalists: Tuan Minh and Le Hieu. Unfortunately their voices are lost because female singers dominate the album. Two of the most powerful performances are from Ngoc Anh and Khanh Linh. While Ngoc Anh’s voice is deep and foggy on “Anh Da Khac Xua” (You Are Not Who You Used to Be), Khanh Linh’s vocal is clear and pitch-perfect on “Dieu Hoang Duong Nhat” (The Most Absurd Thing). Each brings a unique style to Do Bao’s compositions.

As a young musician, Do Bao offers some fresh vibes to the Vietnamese music. His freshman effort, Canh Cung, demonstrates his writing and producing skills. He has a style of his own that is both exclusive and pleasing to the ears.

If I were the producer of Asia Entertainment, I would invite Thuy Mi to the annual Mua He Ruc Ro (Radiant Summer) event to showcase our Vietnamese-American multi-talented woman. According to her website and the credits on her album, she is the software engineer, songwriter, singer, guitar player, web designer, and graphic designer. She has everything I ever wanted: a Masters degree, a creative mind, and a handful of original songs. Her other talents, especially web design, are interesting, but they are beyond the scope of this article, and so, I will focus on her music.

As a musician, Thuy Mi is innovative. Her compositional skills, her lyrical spellbinding beauty, and her passion for jazz turn her into a sensation. Her luminescent debut Nhung Vet Chung (rough translation: the Scars of Life) featured ten “tu khuc” (self expression) songs recollecting her personal experience. Her compositions, which are based not on precision but passion, offer the audiences an intimate listening atmosphere. For instance, she pours her heart out on the title track “Nhung Vet Chung.” Accompanied by Thong M. Do’s soft and clear acoustic guitar, her rich, perfectly placed voice enters: “Co mot chang doi buon vo nguyen co / thuong canh la roi, xot nhanh hoa tan / chi mot minh lang le, khoc mot manh doi / ta voi ta thoi” (loose translation: A period of life that is sad without a reason / regret for the fallen leaf, pity for the withered flower / quietly alone, crying for a part of life / by myself and I). She writes lyrics that mirror her life. Through her melancholy voice, she connects with music and reaches the listeners.

Thuy Mi’s fine taste in jazz aesthetics makes her an interesting new songwriter. On “Mot Lan” (One Time), she leads an effortlessly smooth performance that is enhanced by the cascading jazz chord and mellow vibe arranged by Le Tu Phong. Besides the composer herself, the record is molded together with the help of four top-notch vocalists -Tuan Ngoc, Nguyen Khang, Thanh Ha, and Diem Lien – at their best.

Each of the vocalists brings a unique flavor to the record. Tuan Ngoc’s meticulous phrasing and his expressive delivery give spirit to “Em Van Do” (You Still There) and soul to “Em Ve Chi De Xa Toi” (You Come Back To Leave Me). As Nguyen Khang goes sentimental on “Chieu Dong” (Winter Evening), Vu Tru’s violin infuses despondency into the track. Khang’s gravelly voice married to a blues melody creates “Chung Nhu” (Supposedly) to be a masterpiece. While Thanh Ha’s intoxicating timbres match the jazzy chords on “Niu Lay Doi Nhau” (Grab Onto Each Other’s Life), Diem Lien’s thin and delicate voice blends naturally into the glimmering grooves on “Chan” (Bored). Unlike what the title suggested, “Chan” is anything but boring.

Aside from the vocalists and the composer, the album would not be complete without the brilliant production, mostly handled by Le Tu Phong, and two tracks from Ho Dang Long. Their mesmerizing jazzy sounds are the delicious butter that melts inside the hot breads of the vocals. And just like bread and butter, together they have produced an impressive debut that can be complemented by a bottle of fine wine. Nhung Vet Chung raises a glass and toasts to the possible, an aesthetic work that is elegant, intricate, and expansive. Thuy Mi, please keep on feeding us delightful dishes of soul. I am already hungry for more even though I just ate.

Don Ho not only has a singer’s ear but also a designer’s eye. From CD covers to booklets to posters, he is one of a few Vietnamese musicians who create all of the graphics design work. Now that he has finished studying computer animation, I won’t be too surprise to see his self-produced music video and website. Since Don is involved in every step of making his album, it only makes sense for him to launch his own recording company. After a long hiatus, even missing in action from Paris By Night stage, he is back with Don Ho production’s debut Con Nghe Tieng Goi (Still Hear Your Calling) to give his patiently awaiting fans a few surprises.

Don Ho’s distinctive vocals have always been his forte, but his personality, which gives soul to his performance, is his secret weapon. To say that he has “soul” would be an understatement; he is soul personified. Don’s charm and enthusiasm shine through on Dieu Huong’s “Van Con Yeu” (Still In Love), a cinema scope tune full of emotional detail. His slightly raspy voice adds an enlivening hint of smokiness to Huong’s ballad while the saxophone adds an intoxicating riff to Dong Son’s arrangement. The title track “Con Nghe Tieng Goi” (Still Hear Your Calling), which comes from Dieu Huong’s pen, is an astonishing and refreshing pop meets jazz permutation, and Don’s vocals blend into the chord as effortlessly as breathing. Don should sings more jazz-inflected grooves. His smoky but silky voice is perfect for capturing the sexiness of jazz aesthetics.

“Dem” (Night), music composed by Dong Son and lyrics written by Dong Son and Minh Chau, demonstrates Don’s performance over the years, which has become increasingly thoughtful and textured. He interposes tremendous soul and warmth into the work that one can hear in the details, and his bends and slides are honestly delivered. Besides the mellow tracks, Don stays loyal to his young fans by providing some bouncy tunes including Sy Dan’s “Con Tim Mu Loa” (A Blinded Heart), and by his skillful interpretation of covering catchy translated songs such as Nhat Ngan’s “Mong Mo Xa Roi” (Faded Dream).

The most surprising song on the record is the sweet duo performance between Don Ho and the little girl Lan Anh on Louis Armstrong’s “What a Wonderful World.” Lan Anh’s young and adorable voice gives Don a rejuvenating sound, and together they complement each other having a wondrous time, weaving in and out of the sax harmony. What a wonderful world!

Con Nghe Tieng Goi marks a strong new beginning for Don Ho as he embarks on his solo career path. Now that he has his own production company, the creative freedom is interminable. While his fans should not miss this stellar effort, I am looking forward to what he will have lined up next.

Beside Ru Doi Di Nhe, Tu Su, Ru Mai Ngan Nam, and the most recent Nang Len, the 2001 released May Trang Bay Ve is another groundbreaking work from the Vietnamese diva Thanh Lam who is a formidable musician with a strong and profound voice. Although she has never been a gentle singer (at least in my mind), this record featured a handful of soothing tracks that requires Lam to melt stylistically. Nonetheless, those who love her powerful voice can reassured that they are not left out.

When Duong Thu contemporary folk melodies meet Quoc Trung’s new world grooves, and bridge the two together by Thanh Lam’s passionate vocals, the result is a barrier-tearing sound that can be found on the title track “May Trang Bay Ve,” as well as “Loi Toi Ru,” “Danh Thuc Tam Xuan,” and “Bay Vao Ngay Xanh.” Aside from Duong Thu’s compositions, Pho Duoc Phuong’s “Ho Tren Nui” is another rejuvenating folk and rock mashup. On these five songs, she has exerted an enchantment over her listeners by virtue of the expressive emotional range, volume, and intensity of her singing.

On this album, she covers eight of Duong Thu’s compositions. The lead-off track “Cam Tay Mua He” is a rare tune sported by Trung’s gorgeous mid-tempo arrangement in which she relaxes into the mellow rhythm, allowing it to calm her. The voice sampling (reminds me of Enigma) adds a sense of mysterious into the piece. Even though “Do Tinh” has a faster drumbeat, her vocals still stay cool and drive the arrangements. Beside her serene delivery, The Dan’s two-string fiddle (dan nhi) performance adds an exquisite aroma of traditional folk to the fresh vibe.

Accompanied by Tran Manh Tuan’s sensual soprano saxophone and backed up the choir of Nhac Vien Ha Noi, Lam’s authoritative, prosperous, and perfect placed timbre comes to live on “Hy Vong” (Hope), the inspiring lyric written by Duong Thu and mesmerizing music composed by Niels Lan Doky. The track is almost perfect except for the flaw in the production where the volume level drops noticeably right after the bridge. Also joining by Nhac Vien Ha Noi choir, “Goi Anh” is a delightful duet with the distinguished musician Trung Kien who voice is a phenomenon; together they provide listeners an opera experience.

Bao Tran’s “Hoa Co Mua Xua” is the cutest track on the album because of the kids from PTTN Viet Nam. They have done a spectacular job backing up Lam and she blends in with them smoothly. She sounds young next to them, and together they come off full of live on top of Trung’s fresh keyboard chord. Not only Trung deserves his praises for the wonderful sounds he produced on the album, his own composition “Tre Xanh Ru” is no less irresistible.

May Trang Bay Ve showcases a peerless vocal from Thanh Lam matches by Dung Thu’s writing skills and Quoc Trung’s arranging techniques at their best. Once again, Lam delivers another solid album and pushes the limit to elevate her stature. While many pop singers come and gone, Lam remains on top because of her timeless work.

In an interview with VN Style, songwriter Le Minh Son says, “Tung Duong has a masculine, passionate voice that sets him apart because many of his male peers sing like women. I can’t listen to them.” He makes a legitimate point. These days, Vietnamese male pop stars either sound feminine or sound like Tuan Ngoc. With disappointments, I have not been motivated to explore the recent crop until I encountered Tung Duong’s voice, an eccentric fusion of tenor and baritone. Although Duong is fresh on the scene, he comes across like a mature musician with a splendid technique and a fluid style all his own, and his debut Chay Tron, which featured seven songs written by Le Minh Son, proves it.

The title track “Chay Tron” is evidence of Duong’s jazz knowledge. He knows how to curl his voice around the smoky, elegant jazz phrases despite the sudden high tunes in Le Minh Son’s music. His wordless performance is also a phenomenon. His languorous voice and Trung Dong’s wistful trumpet weave in and out of one another, as if completing one another’s thoughts, sharing one another’s soul. Together they have created an exquisite harmony.

“Trang Khat” is a silky-smooth blues groove in which Duong’s powerful voice is complemented by Son’s intricate finger-picking guitar playing and rich composition style. Duong’s taste and understanding of jazz is proven through the weight he drops on each note and each rest over a hypnotic riff. Alongside Son’s guitar, Tran Manh Hung’s piano performance is a sensation. His fingers, which fall smoothly on the keys, create an irresistible tune.

Chay Tron, which means escape, is a perfect title because the album comes through with various shapes and sounds to provide listeners with pure escapisms. “Trang Khuyet” offers an experience that is reflectively modern and at the same time old-fashioned by the concoction of jazz and folk. On “Lua Mat Em,” the mid-tempo groove along with Duong’s skillful rendition produces an exceptional synthesis of pop and jazz. The album-closer “Oi Que Toi” breaks free from the folk traditional and takes listeners into an atmospheric ballad; however, the contemporary folk style from Thanh Lam’s version seems to work better.

Tung Duong shows tremendous potential as a young musician. He harnesses his intensity and virtuosity to create a stunning, rich in detail, and cohesive first album. He has chosen the right music for his voice. If there were one thing he needs to improve from this album, it would be his heavy breathing.

Shortly after ruling out her competitors in Sao Mai-Diem Hen (Morning Star – Rendezvous), Pham Ngoc Khue drops her debut Ben Bo Ao Nha Minh (By Our Pond), a collaboration with her musical mentor Le Minh Son who is a renowned songwriter in Viet Nam. Unlike many new faces who “take the shortcut to fame by performing pop ballads,” as Khue said during her interview with Viet Nam News, she has established herself as an exciting new voice among her peers by performing contemporary folk songs with her strange but striking style. Her rare vocals, along with her bizarre delivery, produce some of the weirdest tunes I have ever heard since Ha Tran’s Nhat Thuc (Solar Eclipse).

The first time I listen to Ngoc Khue’s performance of “Chuon Chuon Ot” (Red Dragonfly) on Sao Mai Diem Hen, she sounds a like twelve years-old girl with an incredibly annoying voice wheezing her way through the song. How the heck did she win Sao Mai-Diem Hen? After listening to the whole album, I finally figured it out. Her voice is a marvel: smooth, sweet, breathy, and smoky at once, and she flips her flows constantly. On “Gio Mua Ve” (The Windy Season Returns), Khue pours her voice into the notes until they overflow. Her northern accent near the end is the most eccentric reading I have heard, although I can hardly make out what she says. “Cap Ba La” is a contemporary folk song that I can snap my fingers and tap my feet to. Khue’s bashful and playful delivery, especially the way she flirts “la lam, ngai lam” (too strange, too shy), is irresistible.

Both the title track “Ben Bo Ao Nha Minh” (By Our Pond) and the remix version of Bac Ninh’s “Ngoi Tua Man Thien” (Sit By the Boat) are invigorating because Khue relaxes into Le Minh Son’s gorgeous arrangements. Unfortunately, her lack of breath control keeps these tracks from being perfect. “Nguoi O, Nguoi Ve” (One Stays, One Returns) is a good example for observing the difference between a new (Ngoc Khue) and an experienced (Thanh Lam) singer. While Lam is breathless, Khue is gasping for air. Khue is an excellent musician with a very unique style, but Lam is untouchable. For instance, Khue’s performance of “Da Trong Chong” (Turned to Stone) is wicked, but Lam’s powerful interpretation is murderous. I like both versions, but if I have to vote for one. I must go with Lam. She has found her way into the composition.

Despite her inexperienced vocal skills and being overshadowed by Thanh Lam, Ngoc Khue has crafted an exquisite first album. She has made the right decision by not choosing popular songs to get her name out. It might be quickest way to fame, but also the fastest way to be forgotten in the game. Khue seduces her fans by using the smartest strategy: allowing the music to grow on listeners instead of letting music wear them out.

50 Cent has been acting crazy lately, and he gets worse when his sophomore album, The Massacre, is about to drop. He is not only beefing with other rappers, but also with his own man, the Game, as well. Because of the pressures he is facing with, his paranoia is explainable. If I were in his position, I would feel the same. Two years ago, he was on top of the game. His debut Get Rich or Die Tryin’ sold eleven million copies. When an artist sells that much, the expectation is much higher. Can 50 live up to it?

The good news is The Massacre has plenty of hot beats for 50 to ride on. From the delightful jazz groove (“In My Hood”) to the clubbing Indian-inflected (“Just a Lil Bit”), he spins on these beats as smooth as the chrome rims on his Benz. Like his mentor Eminem, he sings almost all the hooks (twenty out of twenty-two tracks). Unlike Em, however, he sounds more matured and professional. His thick and slightly raucous voice helps tremendously. His delivery is both effortless and intricacy. His flow is as passionate as the song requires, and his style is switching on nearly every track. The collaboration with Em on “Gatman and Robbin'” is a delicious duo. They fashioned an artfully constructed style that has not been heard before.

Although the beat, flow, and delivery are exceptional, the missing piece of the puzzle is the lyrical content, which is as dried as the desert. When he is not foul mouthing on Nas, Fat Joe, Shyne, and Jadakiss (“Piggy Bank”), he either swaggers on his gangsta life (“I am suppose to Die Tonight”) or disrespects women (“Get in My Car”). After spitting on girls, he makes a three-point-turn and rhymes his sweet thugging heart out on “A Baltimore Love Thing,” where he spits “Girl, I’m missing you, come and see me soon / Tie your arm up, put that lighter under that spoon / Now put that needle to your arm princess, stick it in.” Unfortunately, only a few good lines like that come through on the album. In addition, he recycles same words over and over again. How many times does he say the word “Teflon” and “hollow tips?”

50 Cent probably did not want to, but he set standards so high that he himself can’t reach, and he knows it. Even though he hides it by sounding like not breaking a sweat on the tracks, his forceful laughter shows it all. The Massacre may not be able to break through eleven million, but the clubbing beats and the playful performance will guarantee the platinum numbers. The weight is heavy, but at least he takes it off his shoulders.

After releasing several ridiculous DVD, Hoa Bien productions are finally catching on. Their latest music and comedy video Yeu Nguoi Say (Love the Drunker) is viewable with the mix of singers in Viet Nam and US. Despite the foolish topic (liquor) and the silly host (I am tired of watching Chi Tai), the video provides some entertaining contents.

The song that jumps out at me is Jimmy J.C Nguyen’s “Niem Dau Chom Ha.” He is one rare Vietnamese artist who can write and sing equally well. This song showcases his new style, which is refreshing, reviving, and very “Hue.” His flow is exceptional and his lyric is beautiful. I am sure Quang Linh will cop this song in the near future.

Ngo Thanh Van surprises me with her vocal improvements compare to a year ago when her second album Bi An Van Trang dropped. She’s hot and she has the groove, but her style is uneven on the video. She looks cute in some outfits but discord in others. Her dancers are even worse. Their styles are in between puck-rock and hip-hop, but their moves are not so bad. Together they rocked the video.

Glad to see Thuy Duong’s back. Her voice is incredible on “Tinh Lo” even though her pronunciation of the “th” (thoi) and “dd” (doi) is a bit strange. Thanh Truc pulls off Trinh Cong Son’s “Nhu Canh Vat Bay” adequately. She would sound much better if she could control her breath. Thu Phuong’s performance on “Chen Dang” is pleasurable although Dam Vinh Hung’s version is more expressive.

“Ve Day Thoi Em Hoi” is lyrically inspiring but the video does not articulate the song to its fullest. Tinh production would have captured the song much better. Dam Vinh Hung’s sentiment is honestly delivered. In contrast, his performance with Hong Ngoc on “Lien Khuc Duong Xa Uoc Mua” isn’t quite captivating. Hong Ngoc looks like a Vietnamese version of Da Brat back in the “Funkdafied” days with her braided hair, loose shirt, and baggy jeans.

Rebecca Quynh Giao and Quynh Anh are blazing in the sexy Japanese customs that show off their cleavages on “Say.” Especially Rebecca, she is irresistible. Keep on shaking them thangs, ma!

When the production toned Nguyen Huy down to his age, he is a cute and talented kid. He’s no longer a little pimp, but a “Tieu Hoang Phi Hung” (a little Kung Fu fighter). Although the flying on water and the fighting scenes are filmed with special effects, he has the skill and the charisma to pull them off. Not only that, he can also acts. His performance with Hoai Linh and Thuy Muoi on the skit “Yeu Nguoi Say” is plausible.

Hoa Bien productions have learned from their mistakes and taken away many controversial issues. Luckily, they haven’t taken away the models. I don’t care what people say, but beautiful faces do add something nice to the video. I also must give Hoa Bien props for filming both places (Viet Nam and US). The expenses must be incredibly high. Keep up the good work.