Three days ago, I was in a Vietnamese music shop in Philly asking for Tuan Ngoc’s latest album. The retailer told me, “We don’t have Tuan Ngoc new album, but we do have someone new who sings like Tuan Ngoc.” Since I was the only customer, she offered to play Dinh Ngoc’s album produced by Asia Entertainment, so I can get a glimpse of the new singer. As the CD advanced to the second track, she asked, “What do you think?” I smiled, “Yes! He does sound like Tuan Ngoc.”

Welcome to Tuan-Ngoc-esque’s club. Quang Dung, Nguyen Khang, Quang Tuan, Anh Tuan, Quach Thanh Danh, Dinh Ngoc and several other male singers remind listeners of Tuan Ngoc when they perform; however, when Tuan Ngoc sings, none of them existed in his performance. Time has passed and the new may replace the old, but time has not passed by Tuan Ngoc and he is irreplaceable. His latest LP Hay Yeu Nhau Di 2 (Let’s Love Each Other 2) proves that he is like ginger, the older the age, the spicier the taste.

Since Hay Yeu Nhau Di 2 recorded in Viet Nam, the song selection is nostalgic. Dzoan Binh’s “Mot Dong Song Toi Van Hat” (A River I Still Sing) is like a trip down memory lane for Tuan Ngoc, and his mournful voice flows into the arrangement like water hyacinth floating on the quiet river. While he supplies the polish of his vocal to some of Do Dinh Phuc’s exceptional romantic ballads including “Tinh Day Voi” (Full of Love), “Ve Dau Em Hoi” (Where Do You Go?), and “Em Ve Giua Binh Minh” (You Return in the Mid Morning), the album best tracks are the jazz-inflected joints. His intricate phrasing along with the remarkable jazz riff curls like smoke from a cigar all over Do Dinh Phuc’s “Khuc Tinh” (Romantic Ballad). The saxophone and the guitar are enthralling, and together with the hypnotic beat, they enhance the aesthetic experience of the composition. Another magnificent piece under Do Dinh Phuc’s pen is “Voi” (Rush). Tuan Ngoc elegant delivery brings shapes and colors to the track while the rollicking piano accompaniment provides listeners a modern jazz with a shade of blue.

Doan Chuan and Tu Linh’s “La Do Muon Chieu” (Leaves Fall in Multi-direction) is Tuan Ngoc’s signature piece, but both Nguyen Nhat Huy’s “Em Quen Mua Dong” (You Forget Winter) and Nguyen Kim Tuan’s “Bien Can” (Shallow Sea) are not his typical selections. I am surprised that he chooses to perform these popular songs, yet I am even more astonished that he could pull them off with his distinctive style. His attention to the lyrics and his creative interpretation make his performances – not only on these two tracks, but also on the whole album – stand apart from the rest. His masterful singing, his skillful delivery, and his attention to details turn him into a rare gemstone (ngoc) in the Vietnamese-American music community.

Last year, Thanh Lam brought Trinh Cong Son’s music to a whole new level with her recording of Ru Mai Ngan Nam (Lullabies Forever), which earned her 2004 Album of the Year in Ha Noi. This year, she takes Le Minh Son’s work to a higher plateau with her latest Nang Len (Sunrise). Sounding hungry, raw, and full of passion, she cuts straight to the essence of the song and drops verses harder than before. Le Minh Son’s compositions are the fuel that ignites the fire in her voice, something that she has been waiting for. The question is not how far she can reach, but how much she has to restrain her powerful vocals. She never ceases to astonish us with how long she can hold on to a note.

Thanh Lam and Le Minh Son in music are like Robert De Niro and Martin Scorsese in movies. While Scorsese’s films allow De Niro to create his character, Son’s compositions permit Lam to construct her attitude. Her high energy and vivid personality come through on every track. Even when the beats fail her, as they do on the weird pop-jazz arrangement on “Tim Anh Bang Nu Cuoi” (Find You By a Smile), she is still listenable.

While Lam is a gifted singer, Son is a talented musician who adds something new to traditional music with his skillful mixture of folk and jazz; his compositions sound like no others. He has an innovative technique and a fluid style of his own. Nang Len showcases his various tastes including the classical “Nguoi O Nguoi Ve” (One Stays, One Returns), the contemporary folk “Oi Que Toi” (Oh! My Countryside), and the jazz “Anh Se Ve” (He Will Return). Although Lam switches up her flow to blend with different genre, one element remains unchanged; she never sounds soft or weak.

If Son’s lyrics are bullets, Lam’s delivery is a gun. She blows like a 12-gauge shotty all over “Da Trong Chong” (Turned to Stone). As if Lam’s vocals are not sorrowful enough already, Son includes ken bop (a horn used mostly for funerals) along with folk orchestration to boost up his modern-drama version of Hon Vong Phu’s tragic tale. Son has guts and Lam has attitude. Together they make music that flows through our bodies like doses of an adrenaline rush.

On the title track “Nang Len” (Sunrise), Lam authoritative vocal is the driving force behind the symphony. She drives the arrangement like a conductor leads the ensemble. The result is a masterpiece that is rich in detail and thick in texture. “Co Doi” (Couple) is an intricate piece that proves she is the master of phrasing, an aesthetic element that makes the lyrics come to life. On the chorus, she flows as if she could go on forever, and at the same time she lets no breathing sound slip by in between the lines. This is something that many inexperienced singers could not do even when they do not reach the high notes the way Lam does.

Nang Len is an exquisite album that is intended for aficionados, not ordinary listeners. The record not only showcases Lam’s full potential, but also offers listeners all the dynamics and intricacy of the most sophisticated class of music. Is the album worth purchasing? Hell, it’s Thanh Lam. She never puts out anything less than superior performance, and this one is superb.

Big up to Thao Suong for the album.

On her latest album Khu Vuon Yen Tinh (The Quiet Garden), Hong Nhung continues to amaze listeners with new tunes. Her taste and understanding of simplicity may prove that she is the most intuitive vocalist of her generation. The freshness of her style allows Hong Nhung to reach her fans far beyond those who live in Viet Nam, not to mention her American audiences. On this album, Hong Nhung invites fans to explore her peaceful space by providing a pure appreciation for nature through a personal listening experience.

The album is simple in its complexity and complex in its simplicity. Distinguished songwriter Duong Thu, who pens six out of eight tracks on this album, recognizes the aesthetic beauty in minimalism. He believes that the simpler the writing, the stronger the expression, and “Giot Suong” (Dewdrop) demonstrates his unsophisticated lyricism. The song is divided into two short verses. Each verse has four lines. Each line contains four syllables. The words are simple, but the visual is accessible – “Giot suong trong vat / ngu trong canh hoa,” which suggests the crystal clear dewdrop sleeping inside the petal. Even though Duong Thu writes these songs for Hong Nhung, the lyrics also reflect his own personality. When the songwriter and singer are in accord with each other, together they bring out the best of both individuals merging into one. On his “Hon Da Trong Vuon Toi” (Stone in My Garden), her soothing flow is right inside the aesthetic of contemporary arrangements.

Beside Hong Nhung’s vocals and Duong Thu’s compositions, the strength of the album also comes from Quoc Trung’s luxurious arrangements. Listen to the way his drum taps on “Tieng Nuoc Roc Rach” (The Babbling Sound of Water) and how easy she is with it. Together they blend their talents to bring an exquisite sound to Duong Thu’s work. When the vocal and the instrumental components weave in and out of one another on Duong Thu’s “Tieng Mua De Lai” (The Sound of The Rain), as if completing one another’s feelings, the beauty of rhythm and harmony still depends on simplicity.

As for Quoc Trung’s own composition, “Con Chim Sau” (Woodpecker) is a breathtaking example of Hong Nhung’s innovative way with an avant-garde song, as she mixes the melody with her own phrases in a playful interaction. Near the end of the song, she goes out of context and sounds like a kid with her vocal manipulation.

The third songwriter contributing to this album is Huy Tuan, who also wrote “Mot Ngay Moi” (A New Day) exclusively for Hong Nhung on her previous album. His “Nang Som” (Early Sun) is a masterpiece that, once again, showcases Hong Nhung’s simplistic and elegant flow. Her perfection in phrasing enables the lyrics come to life.

Khu Vuon Yen Tinh proves once again that Hong Nhung’s stylistic variations are limitless. Duong Thu, Quoc Trung, and Hong Nhung offer a brand new definition of creative freedom, leading listeners to new ground. The album’s lyrical, simple beauty might attract an audience well beyond her dedicated fans. The spellbinding vocal delivery combined with the striking musical arrangement creates a quiet garden where anyone can take a break, breathe fresh air, absorb peaceful sound, and live a simple life. The album reminds us to “manifest plainness, embrace simplicity, reduce selfishness, have few desires.” – Lao-Tzu.

“Another Trinh Cong Son’s album?” was my first thought when I picked up Cam Van’s Xin Cho Toi. I glanced at the back cover, half of the tracks are Trinh’s standards, including “Tinh Nho,” “Ha Trang,” “Ru Doi Di Nhe,” and “Rung Xua Da Khep,” which have been covered countless times by other singers. I copped the album anyway since I heard so much about Cam Van but hardly pay attention to her work. This album may be a good start.

As soon as the album kicks off with “Tinh Nho,” Cam Van’s superb voice grabs me. Her dynamic delivery combines with her powerful vocals give shape and texture to Trinh’s music. She has a unique approach to Trinh’s work and the arranger (Bao Phuc) recognizes it; therefore, he allows her voice to drive the musical arrangements. While she easily reaches deep into Trinh’s lyrics on “Hanh Huong Tren Doi Cao,” the sax follows right behind her to provide the listeners a journey on the high plateau. Likewise, the instruments on “Phuc Am Buon” are subtle enough to let her vocals take charge. As a result, the performance shows the strength of Trinh’s words through her vocals and the aesthetic details through the musical composition.

On the title track “Xin Cho Toi,” Cam Van delivers the melancholy of Trinh’s expression while the arrangements added a sense of despondency to the work. Placing this title track at the end of the album is a clever technique. The energy makes me yearning for more. The whole album has that slow but vibrant sound except “Ta Da Thay Gi Trong Dem Nay,” which is a mid-tempo song. The vocals and the lyrics are listenable, but the marching band tune turns me off.

Xin Cho Toi is a carefully crafted album with remarkable vocal performance and skillful orchestration. It is an album not to be missed by those who love Trinh’s music. It won’t replace Khanh Ly’s records or Hong Nhung’s album, but it gives a different experience to the incredible work of Trinh Cong Son through Cam Van’s distinctive interpretation.

If Hong Nhung’s albums rank by age, Mot Ngay Moi is the youngest one. I like to call it a Hoi Xuan (undergo the change of life) album since the tunes she selected are simple, soft, and easy to listen. In addition, the mid-tempo grooves, produced by Quoc Trung, suggest fun, young, and carefree; therefore, she sings like a virgin who appreciates the pureness of life. She does not reach deep or climb high, but just flow effortlessly.

The album opens with Huy Tuan’s “Mot Ngay Moi,” and like the tile suggested, a new day has begun. The sun has filled the city and wakened her up to sing for a beautiful green day. The hip-hop inspired beat makes me want to get up and get my morning workout on. Then “Xa Lam Roi,” which written by Le Quang and Hong Nhung, continues with her fresh vocals breathing into the hip-hop vibes. Not sure why Bao Chan’s “Roi Dau Yeu Ve” starts off with the beatbox that has nothing to do with the calmed and relaxed arrangement. Quoc Trung’s invigorating mix and Hong Nhung’s uncomplicated delivery give Huy Tuan’s “Mua (Dung Tanh Nhe)” an aroma of world music.

The only slow track on the album is Bao Chan’s “Loi Toi Hat,” and Hong Nhung gives a flawless performance; however, I am questioning the origin of the song. The tune sounds familiar, especially in the beginning when the piano starts to play, but I cannot put the title to song. Did Bao Chan lift the melody again?

Hong Nhung always surprises her listeners by switching her style constantly. Even though she does it skillfully, fans whose love her sentimental performances will be disappointed with Mot Ngay Moi. In contrast, the youthfulness of the album will welcome more young fans to her work.

The singings are slow and the beats are mellow. Da Khuc Nguyen Dinh Phung is quiet, calm, and relax, but not boring. Thanks to producer Duy Cuong for his magical fingers. The musical arrangements along with the ambient vocals of Tuan Ngoc and Thai Hien set Nguyen Dinh Phung’s compositions in a nocturnal atmosphere.

Nguyen Dinh Phung is a relaxed songwriter; therefore, who can perform his music better than the easygoing Tuan Ngoc? On “Dem Hoai Vong,” Tuan Ngoc sounds as laid-back as he could be, and the saxophone added the fragrance of jazz to the work. His pleasurable and tangible deliveries on “Toc May” and “Em Co Nho” make me want to reach for more, as if they were a glass of French Martini.

Thai Hien performances are no less addictive. Her serenading vocals on “Dem Sau” take listeners deep into the night while her aspirate flows fly the audiences freely with “Hoang Hac (Yellow Flamigo).” Of course, none of these aesthetic experiences are possible without the amazing sounds of Duy Cuong.

Da Khuc Nguyen Dinh Phung is a rare and timeless work. It’s a contemporary nocturne album that takes more then one listen to appreciate its exquisite contents. Once the images are accessible, the compositions speak loud and clear even though the lyrics and melodies are restful.

With the slushy weather outside, the best way to kill my misery is to watch Vietnamese music DVDs. When the video is boring, it would not help, but -thankfully- Kim Loi’s 12th Anniversary is a great time killer. The goal for the DVD is simply music. Thanh Tung may not be the best host, but he does a good job of keeping the introductions to the minimal. It’s amazing that someone actually learned from other MCs’ mistakes.

The performances are consistently good; therefore, I won’t go into every detail, but only highlight the ones that stand out for me. The young new face, Anh Tuan, has great potentials. His voice is along the line of Nguyen Khang’s, but not as smoky. His style is definitely influenced by Tuan Ngoc. Similar to Anh Tuan, Quang Tuan is also inspired by Tuan Ngoc. His singing on “Gui Nguoi Em Gai” is beautiful.

Khanh Ha gives a fantastic performance on Frank Sinatra’s “My Way” in both French and English. Her splendid voice pushes the band and she does it her way. While Khanh Ha is sizzling hot, Thu Phuong is on fire with her own interpretation of “Bang Bang.” What an attidude she brings to the work. Her powerful vocals give “Bang Bang” a fresh vibe.

Kim Loi has brought something new to the table by inviting both singers from the States and Vietnam. The combination is nicely integrated. The only mistake Kim Loi made was inviting a white dude to host a Vietnamese show. His accents are horrible and he just memorizes the notes. Tuan Anh would be a great MC. His freaky look and his dirty mind will bring something new to the show. He cracks me up.

Out of all Hong Nhung’s albums, Ngay Khong Mua is her weakest work. The problem is that – most of the time – she does not drive the beats. On Bai Hat Ru Cho Anh, she flows inside the arrangements, but on this album, she only rides beside the chords. As a result, her vocals sound bland. Once her voice is not fluctuating, it causes the music to be unexciting.

Even Duong Thu’s compositions could not save her this time. His “Pho Mua Dong” and “Bai Hat Ru Mua Dong” are the only two tracks that she could deliver reasonable performances. One of the luminous pieces is Quoc Trung’s “Tinh Yeu o Lai.” Though her timbres are not changing drastically, they fit flawlessly with Quoc Trung’s simple writing. The music is like a modern version of Trinh Hung’s classic folk “Loi Ve Xom Nho.” The lyrics in “Tinh Yeu o Lai” escape me from the cold winter while Hong Nhung walks me to the blossomed rice fields as her warm and sweet voice enters, “Da het buon va het van vuong / lua da vang toa ngat huong dong.” Yes, I can smell the fresh scent of the new crops.

Ngay Khong Mua may be the weakest album among her classics, but it is no way an unpleasant work. If she could embrace the dynamic persistently on every song, similar to the way she does on La Van Cuong’s “Roi Co Luc,” this would have been another eminent record. The song gives listeners a more delicate style of Hong Nhung and she is right inside the piano. The album proves that she is not afraid to experiment with new materials. Speaking of her new works, I cannot wait to collect both Mot Ngay Moi and Khu Vuon Yen Tinh.

For overseas Vietnamese entertainers, Khanh Ha is one of the most successful singers with the most albums ever recorded. Her latest solo Tinh Khuc Ngo Thuy Mien is the sixty-fifth album produced by her very own Khanh Ha Productions. Despite bootlegs and low prices of CDs coming in from Vietnam, any record with Khanh Ha’s hologram stamped on the cover remains the most expensive of all in the Vietnamese music stores. Even big productions like Asia and Thuy Nga wouldn’t dare raise their prices as high as Khanh Ha’s production. How does she have so much confidence in her own products while other singers are struggling to get a record deal?

Khanh Ha has established herself in the business and her confidence comes from her voice. Her elegant style has captured Vietnamese listeners for more than twenty-five years and will continue to do so in the next twenty-five years. She knows that if she puts out an expensive product, the product has to live up to the price. From the production to the vocalization, Tinh Khuc Ngo Thuy Mien is well crafted. She has successfully articulated Ngo Thuy Mien’s music to its full potential. The most outstanding track has to be “Mot Coi Tinh Phai,” in which she has truly captured his essence. When I close my eyes, the images of the song are visible as she describes a picturesque scene of a lonely fall in Paris, “Chieu qua song Sein / co con chim bay cuoi troi / cat len tieng ca ra roi / cuoc tinh sau khon nguoi.”

Fall must be an inspiring season for Ngo Thuy Mien. Both “Noi Dau Muon Mang” and “Trong Noi Nho Muon Mang” demonstrate his passion for the fall season in his descriptive lyrics. Khanh Ha, once again, expresses his words gorgeously as she sways the listeners with her vocals’ manipulation. While she pours her heart on “Noi Dau Muon Mang” to convey the painful soul, her singing is calm on “Trong Noi Nho Muon Mang” to mashup with the tranquil beats. “Mot Doi Lang Quen” is another quiet song, and she flows soothingly to the romantic arrangements.

On the more experimental tracks, Khanh Ha teams up with Thuy Anh for a feel of the blues on “Tinh Khuc Mua Xuan.” With Ngo Thuy Mien’s classic, “Dau Tinh Sau,” her musical producer gives it a makeover up-tempo beat while she makes it sound fresh with her signature style. Speaking of her signature delivery, “Mien Khuc” fits that category completely. It’s the right vocals for the right melodies.

Tinh Khuc Ngo Thuy Mien marks a successful collaboration among writer (Ngo Thuy Mien), singer (Khanh Ha), and musical producers (Duy Cuong, Nguyen Quang, Duy Hanh, and Peter Siebert). Break out the wine glasses, uncork a bottle of Merlot, pop in Tinh Khuc Ngo Thuy Mien, sit back, and enjoy the intimate atmosphere of an evening right at home.

It’s been a while for Thuy Nga to produce a decent video. Paris By Night 75 (Journey to the Far East) is much more enjoyable than the last several DVDs. Thuy Nga’s cast and crew have done their homework and their hard work is paid off as they lead viewers on the journey to the far east. Each performance is carefully studied and researched to bring out the aesthetic qualities of the various cultures.

The best performance on the video goes to Bao Han’s “Theo Em Xuong Pho.” The Taiko drummers add tremendous energy to the cut while Bao Han and the two hot dancers rock their slim bodies to the beat. The Japanese inspired customs are elegant and the colors match the dazzling motion effects in the background. Because I was deeply drawn into the over all performance, the translated lyrics did not bothered me. Even though I have no idea what he raps about, the “Vietnamese Eminem” flows nicely to the beat. Bao Han is a creative performer and she deserves the praise for her quality work.

While Bao Han gives the most energetic performance, Nhu Quynh delivers the most emotional presentation on the video. Her “Chi Di Tim Em” is convincing and her tears are believable as she searches for her little brother in the flood. The visual effects in the background increase the dramatic experience greatly.

Beside the great choreography scenes (thanks to the innovation Shanda Sawyer), Paris By Night 75 features some outstanding solo performances including: Y Lan’s “Khoc Cho Roi Le Nhoa,” Luu Bich’s “Dang Cay,” and Bang Kieu’s “Mua Tren Ngay Thang Do.” I actually enjoy Bang Kieu’s singing for the first time. His voice does not sound too feminine and he has the strength to carry on the high notes skillfully.

Whether the viewers like it or not, sexiness quality is part of Thuy Nga entertainment. Hey! I don’t mind. Nhu Loan is so damn hot. Her great body definitely boosts up her confidence; therefore, she moves naturally and shakes what she paid for on “Yeu Nhau Duoi Nang Mai.” As for Ho Le Thu, her “whoreliness” is not shocking me anymore. She is also very comfortable with her body and she has a great figure so why not rock it? As for Luong Tung Quang, he must be obsessed with the leather-skirt pants. He looks ridiculously gay to me but who am I to judge when it comes to the guy?

Beside the usual performers, Thuy Nga present the viewers some great surprises. The special appearance of Adam Ho, a fifteen years old rocker, shocks the stage. His ability to write, sing, and play guitar at such an early age is motivating and he has great potential to become a rock star. With the exceptional presence of Hoai Linh, the Thuy Nga’s sit-com has been bought to life. Hoai Linh is hilarious and his chemistry with Chi Tai is just perfect. Speaking of chemistry, the duo between Khanh Ha and Lam Nhat Tien on Elton John’s “Sorry Seems to be the Hardest Word” is a striking collaboration. Khanh Ha starts off with a slow verse than Lam Nhat Tien kicks in with a more upbeat verse to show a transition between old and modern style. Even though Lam Nhat Tien could not match up with Khanh Ha’s skillful technique, he is the closest and the only male singer in Thuy Nga who could sing English flawlessly.

From my previous reviews on Thuy Nga products, I was accused of being biased toward Thuy Nga production because of my negative point of view. I have nothing against Thuy Nga or any other productions. From a viewer standpoint, I just jot down whatever worthy or trashy. As you can see from this written up, I give Thuy Nga prop when they deserve it. My hope is for Thuy Nga to continue setting the trend and move forward to bring oversea Vietnamese entertaining DVDs; however, I doubt that they can match this video in the next three or four releases.