Ngoc Lan is among a few singers who blew cool breezes into Trinh Cong Son’s music with her fine elegance. On Hat Cho Que Huong Viet Nam, she interlaced remarkable soul and sensitivity in the work. As a result, her performances on Trinh’s materials were as natural as breathing, especially on “Ben Doi Hiu Quanh” where she effortlessly grasped sad air into the melody.

As for “Xin Mat Troi Ngu Yen,” Ngoc Lan’s perfectionist delivery remains unmatchable til this day. The seamless integration between keyboard and sax, along with her vocals, they had created everlasting memories of “Diem Xua.” On “Ru Ta Ngam Ngui,” her vocals gradually increased from deep whisper “khi tinh da voi quen” to rattling high “con chim dung lang cam” within four lines. All I can say is “wow!”

Again on “Tinh Nho,” Ngoc Lan did not have to scream on top of her lung to convey “Tinh ngo da quen di…” yet her flow was still spellbind. “Nang Thuy Tinh” marked another beautiful and highly successful collaboration between singer Ngoc Lan and sax player Thanh Lam. It was a perfect chemistry.

Hat Cho Que Huong Viet Nam is yet another priceless album Ngoc Lan had left for her fans. Released in 1994, ten years later this album is still capturing millions of Vietnamese hearts both at home and abroad. I am sure this timeless album continues to be appreciated many years to come.

Though I am attracted to Ha Tran‘s sweet voice, I never found her style to be innovative until I come across Nhat Thuc (Solar Eclipse). Uniting jazz and pop styles into traditional folk music, Ngoc Dai created some of the most unusual and exotic compositions ever. With Ha Tran’s elegance vocals weaving into Do Bao‘s aesthetic arrangements, Nhat Thuc leaves me breathless.

The album opens with “Nam mo a di da Phat” along with a child’s laughter that reminded me of my childhood period where I spent most of my time in the temple. Those where the happiest times in my life, may I add? The only different is that Ha Tran’s voice is too syrupy compared to those sister monks who loved me dearly. The moment the instruments began to play, “Nghi Ngai (Shadow of Doubt)” takes listeners on a journey to a new horizon. “Det Tam Gai (Weaving Tam Gai)” is one of the cutest folk melodies I’ve heard. I just admire the hook, “Det tam gai den bao gio / det tam gai u den bao gio / em yeu anh cuong dai / yeu anh den tan ca em ra.” I also am inspired by the psychological phenomenon behind “Ao Anh (Illusion)” where Ha Tran’s vocal becomes thicker and warmer.

Although Nhat Thuc released three years ago, the music is still as fresh as ever. If you get a chance, pick up this album for a rare experience. I am sure you’ll find it eccentrically enjoyable. Lastly, proper credit must be given to poet Vi Thuy Linh who works inspired Ngoc Dai to compose this album. Too bad the copyright issue was interfered with this album because of lacking of respect on the credits. Nonetheless, I can’t wait to set my ears on Nhat Thuc 2.

Beside Thanh Lam, I could not imagine any other singers in Vietnam would have the confidence to release a Trinh Cong Son album with only 6 tracks. Since Trinh had more than 600 works and at least a hundred of them are extraordinary, I wonder why only 6 at first but once I listen to Thanh Lam’s Ru Mai Ngan Nam, the answer is in every track. Each piece is carefully crafted in an intimate atmosphere (thinh phong) to offer listeners a pure appreciation for Trinh’s work.

From “Nhin Nhung Mua Thu Di” to “Ru Em Tung Ngon Xuan Nong,” Thanh Lam and her musicians lull Trinh’s magnum opuses to an exquisite level with her exotic voice, mellowing piano, soothing violin, and grooving guitar. Together they breathe everlasting life into Trinh’s work of art. On “Uot Mi,” Trinh’s lyric is wet (uoc); Lam’s flow is pouring rain. Her vocals ride intricately into the brilliant piano composition to generate an aesthetic experience. On “Ru Ta Ngam Ngui,” her delivery is more refined, focused, and sharpened than her previous performance on Ru Doi Di Nhe. She also shows her innovative stylishness with Opera experimentation on “Rung Xua Da Khep.” She sounds as mature, fresh, and full of passion as ever on “Tinh Xa.”

If Trinh Cong Son were still alive, he would be enchanted to witness his works have finally flourished into their full potential. It’s a joy to see an artist like Thanh Lam to constantly elevating her crafts and pushing herself. She takes Trinh’s music to a place where no other artists have taken us before. Thanks Lam for bringing us “real” music we’re all thirsting for.

Many thanks to Thao Suong for the album.

I am not a rocker fella but I am feeling these guys. Buc Tuong impressed with their creative aesthetic visions. They have truly embraced the ascendance of rock through their latest release Nam Cham. They sound secure, confident, and ready to roar. Their deliveries are natural and their musical instruments drop harder than tons of magnet. As a result, Nam Cham is a hard knock rock LP.

“Gio len roi can buom cho khoai / Gac cheo len ta nuong kho khoai.” These were my favorite lines from “Ra Khoi” that I used to sing when I was a kid in Vietnam and Buc Tuong rock the hell out of the Vietnamese Southern folk (Dan Ca Nam Bo) style. I am not a die hard rock fan but when I first heard their version of “Ra Khoi,” they not only take me back to my childhood memory but also sweep me off my feet. The wicked fuse between rock and folk produced an unbelievable outcome. Actually, the opening track “Ra Khoi” grabbed my attention, which prompted to cop the album and I am glad I did because the rest of the album rocks hard as hell the whole way through.

Similar to the rock and folk exploration, Buc Tuong recreate the magnificent stories of Trong Thuy and My Chau through “Dau Vet Nghiet Nga” and Son Tinh and Thuy Tinh through “Chuyen Tinh Cua Thuy Than.” Though I wouldn’t use these songs to tell my kids these legendary stories, I do enjoy the two tracks greatly.

Clearly the title track “Nam Cham,” is influenced heavily by Marilyn Mansion’s extreme hardcore style. It’s rug, raw, and intense. Speaking of hardcore, the instrumental solos on “Bat Tu” are ruthless and explosive which demonstrate the band musical talent. The drum and bass ride smoother than a Ferrari on crack.

On the softer ride, “Cha Va Con” is a special dedication to Tran Lap’s (band’s leader) first unborn child telling him to live his life to the fullest, “Va con hay song hon cha da song mot thoi gia.” On the bonus track “Tro Ve,” Buc Tuong are experimenting with rock and country. I have to say, the result is radiance and striking as well.

Glad to see a band in Vietnam who not only focused on rock but also expend it into the Vietnamese culture by combining with the traditional folk music. The best part about Buc Tuong is that the group has been together for almost 10 years without breaking up like those young pop groups today. Buc Tuong have definitely found themselves a distinctive spot in Vietnam. Wish them the best of luck and continue to rock on.

“Yeah! I am Chinese and what?” Let’s me clarify upfront that I won’t critique Jin’s The Rest is History based on his ethnicity but on the work itself. Furthermore, I won’t classify him as the “First Asian Rapper” but just a rapper period. He is skillful enough to be qualified as an MC. He has the charisma, his flow is tight, and his lyrical content is good even though he still needs improvement.

While his debut is not all that bad, the sugar-sweet coating diminishes Jin’s lyrical content. It’s probably Ruff Riders that responsible for the production instead of Jin. Even so, once you can get pass the “Club Song,” the radio friendly “I Got a Love” with Kanye, the ghetto fabulous “The Come Through” with Twista (though I like the way Jin speeds up his flow), and the booty shaking “Senorita,” you will find Jin’s finest pieces from his heart on the second half of the album.

“The Good, The Bad, and The Ugly” demonstrates his skillful storytelling while “Cold Outside” shows his sentimental side as he recalls the night his man took a bullet for him, “What if he would have die? / What am I suppose to say to his fam?”

Although it’s extremely rare to see an Asian boy with a Black girl, Jin’s interracial “Love Story” is still convincing. Then again if he’s into Hip Hop, I can see how a Black girl can be interested in him. “Same Cry” is another beautiful work where Jin gives an eloquently delivery on behalf of Asian American, “Think we open restaurants because we cook good? / Hell no! We ain’t got no choice. / I gotta speak up / Without me, my people have no voice.”

“C’mon” is one of the most focused and refined lyricism tracks on the album; however, the structure and the flow are too similar to Eminem’s “Sing For The Moment.” By the way, what’s wrong with computer design? It’s a form of art too. While rappers use words to express themselves, designers use visual art to articulate their creativities. So don’t get it twisted it, brother.

As a freshman in Hip Hop, Jin has created a huge leap forward. However, he still needs to push his craft and improve his lyrics. Hopefully, he’ll be able to have full control on the production of the next album. He definitely has potential and room to climb higher. The future looks bright and shines so keep come thru, Jin.

While the look from his eye on the cover suggests attitude and the title Hung indicates persona, only a few songs on Dam Vinh Hung’s Volume 6 have those two characteristics. Over the years, he has developed a vigorous style that sets him apart from other singers yet that forcefulness is not missing but lacking on his latest work. Although Hung is not flopped, it’s not a groundbreaking work comparing to his previous ones either. When you use the same formula for the 6th time, you don’t get the same effectiveness anymore.

If Dam Vinh Hung depends on this album to retain his status, tracks such as “Xin Loi Tinh Yeu,” “Chen Dang,” “Khong Phai Em,” and “Ve Day Thoi Em” will keep him from dropping from the top. Although his energetic style radiates on these 4 songs, I would like to feel the thunderstorms coming from his vocals for a more powerful experience. Nevertheless, he does sound sincere with his thousand apologies, “Xin loi em ngan lan, xin loi em” on Minh Nhien’s “Xin Loi Tinh Yeu.” I am sure his lady fans would be more than glad to forgive him. Not only that but they would also believe him when he reveals “Yeu mot nguoi du long em chang co anh” on Truong Le Son’s “Chen Dang” and they would feel his broken heart when he confesses “Toi tinh gi ma sao nuoc mat tuong roi?” on Thai Thinh’s “Khong Phai Em.” When he breaks down and begs “Em hay quay ve di,” how could they resist that? The lyrics on “Ve Day Thoi Em” is inspiring as well. Nice job! Duy Manh.

As I mentioned earlier, Dam Vinh Hung uses a familiar formula on his albums and this one is no exception. He usually throws in a couple popular songs but makes them sound fresh and unique. Unfortunately, he could not create any innovative results on this album. His duet with Hong Ngoc on Duc Huy’s “Duong Xa Uot Mua” has nothing special to offer yet the Hip Hop beat just kills it. His remaking of “Ngan Nam Van Doi” is not so bad but it does not catches you like “Tan Tro” did. “Le Da” would have worked beautifully if he didn’t excessively stress on the consonant syllables. Although the upbeat remixes of Duy Manh’s “Tinh Yeu Con Dau” sounds nice, I prefer the slower version.

“Ha Noi Cafe Oi!” (poem by Nguyen Dinh and music by Dinh Van) and Bao Truong’s “Sao Doi Ngoi” are soft and pleasant but are clearly not Dam Vinh Hung’s mode. There would not be a horrible track if an English song did not make it on the album. Dam Vinh Hung’s take on Marc Anthony’s “My Baby You” is worse than William Hung’s take on Ricky Martin’s “She Bangs.” He mispronounces almost every word. He should not waste his skills on this kind of song. If he wants to give his fans something different, sings Cai Luong (Vietnamese Opera). He gave a distinctive taste on Cai Luong during his live performance.

Although Volume 6 does not advance Dam Vinh Hung to the next level, it does not take him a step backward either. He’s still able to maintain his spot as one of the hottest pop stars in Vietnam. The album has its share of good, average, and bad but it is still enjoyable. Hopefully, he will surprise us with something fresh on the next album. The jazz experimentation on “Nu Hon Xa Voi” on Volume 5 was a huge success. He should have explored more into that era.

Before delving into the musical portion of Asia’s Mua He Ruc Ro 2004, allow me this opportunity to thank those activists who have been working hard to bring us freedom. I want to congratulate the successful individuals who featured on the show. I also would like to extend my recognition to any of you out there who stay in school and pursue your dreams. You are the future of Vietnamese American and we are very proud of you. Lastly, to our young boys, please stay away from Michael. Yeah! Bad joke, I know. Let’s get to the fun part, shall we?

It’s a pleasant surprise to see the appearance of Tuan Vu and Son Tuyen. They both look good (much better than years ago). Tuan Vu looks like he is off cracks for good. Unfortunately, his vocals seem to be weakening without cracks. Thanks to plastic surgery, Son Tuyen looks much better than before although her nose reminds me of Michael. Hopefully, they didn’t go to the same doctor. I am just playing, Michael. You know I am feeling your pain. Anyway, glad to see both Tuan Vu and Son Tuyen back.

Da Nhat Yen impressed me once again with her creativities. Unlike her best friend Trish, Da Nhat Yen always brings something new to the audience. This time, her traditional northern vocals on “Con Rong Chau Tien” are hypnotizing. Of course, her stage charisma is perfect for an opening; however, Gia Huy simply ruined it. What were Asia thinking? Pairing up a skillful performer with a guy who has no rhythm is a big mistake. The opening would have exceededly better with Da Nhat Yen alone.

Nguyen Khang delivered an exquisitely beautiful performance on “Nhung Dieu That La.” Although this is a Truc Ho’s song, he made the right decision by choosing Nguyen Khang instead of Lam Nhat Tien. Nguyen Khang’s cracked-voice mantra fits gorgeously with the jazz-fueled musical arrangement. Truc Ho is a fantastic producer and he knows what works best for Nguyen Khang; therefore, Truc Ho ought to produce a CD for Nguyen Khang. With Truc Ho’s musical talent and Nguyen Khang’s marvelous vocals, together they will create an indelible album (hint… hint…).

More hightlights from Mua He Ruc Ro 2004 includes: “Dau Chan Cua Bien” which is nicely done by Lam Nhat Tien and Y Phuong (a new face with potential); Thanh Truc, Diem Lien, and Phillip Huy were incredible on “Lien Khuc Hanh Trinh Tim Tu Do;” and the mesmerizing “Lien Khuc Ao Dai” with Asia’s male artists.

Of course, there is the flip side of the show as well. Trish stated in one of her interviews that she wants to sing for the kids yet her performance filled with half naked dancers. I am sure many parents will appreciate that. As for her music and dance, there are nothing new. Manh Dinh and Doanh Doanh is another horrible miss match. Manh Dinh cannot sing anything that is not “sen” and “Canh Hong Trung Quoc” sounded like switching between a Chinese and Vietnamese radio dial. Cardin has the groove but “Nang Sieu Nhan” is a lyrical nightmare. While Asia 4 need to “Shake” themselves offstage, Hong Dao and Quang Minh need to reinvent themselves. Their jokes have been pathetic lately.

Overall, Asia did a much better job than their competitor (Thuy Nga) and they seem to take the viewers’ comments seriously (unlike Nguyen Ngoc Ngan and Thuy Nga). For instance, the digital background improved tremendously from the previous show. They also did a great job of editing the video down two DVDs instead of three. They give you just enough so you’ll want more instead of bored you to death with all the senseless talking with an extra DVD. Hopefully, Asia will keep up the good work by listening to their viewers and continue to find innovative ideas.

The media needs to back off My Tam. She deserves all the praises for her hard work because she rocked her concert. Ngay Ay & Bay Gio was beautifully executed so I don’t know what the negative criticisms were about. She is young, talented, beautiful, and creative.

Even though she performed almost all of her signature songs such as “Toc Nau Moi Tram,” “Hoa Mi Toc Nau,” “Cay Dan Sinh Vien,” “Hat Cho Nguoi O Lai,” “Uoc Gi,” “Mai Yeu” and many more, the music are newly arranged to give viewers some fresh vibes. In addition, the live orchestra added an exquisite experience to the show. The only song I wish she would perform was “Hat Voi Dong Song.” No one can express that song better than she can.

Vocally, My Tam did a fantastic job and she was able to perform 18 plus songs without a short of breath. In “Trai Tim Em Con Yeu,” she impressed me with her English pronunciations. Although there were flaws in some of the words, her English improved tremendously. Her acapella version of Trinh Cong Son’s “Dem Thay Ta La Thac Do” was still mesmerizing. Her own materials, “Nu Hon Bat Ngo” and “Vi Dau,” obviously can’t match up with other songwriters’ works but they were lively and well written. I highly encourage My Tam to keep on writing. She has potential.

Choreographically, My Tam has a great stage charisma. From rock inspired “Bang Bang” to Spanish passion “Tinh Thoi Xot Xa,” she knew how to work the crowd, especially the way she swang her hair in “Xich Lo” and a little rump shakers in “Hoa Mi Toc Nau.” The ballerina/break-dance in “Yeu Dai Kho” is highly innovative. It’s jaw dropping to see My Tam leaped high, rolled on the floor, and did a split at the end. The best part was that she was being herself out there and trying to have fun. She got hype and wild as she pleased and the crowd loved it and I surely adored it.

My Tam definitely has a fine taste in style. She looked elegant whether in a sophisticated evening gown or simple jeans and shirt. Unlike the hoochies on Paris By Night, she still appeared hot and sexy without bearing her skins. She proved talent has way more class than sex and I respect her for that.

Although Ngay Ay & Bay Gio was a huge investment for My Tam, it was worthwhile. She did everything she could and gave one of the best live concerts ever made in Vietnam. She should not allow the media to influence her works. She should spend her energy on pushing herself to the limit and expanding her artistic vision. My Tam’s live show is an alternative to the tiresome Paris By Night and their lip-synching. Beside the slightly poor quality on the DVD because of technicallity, the live show is pure entertainment.

First of all, I would like to thank Hoang, a Visualgui.com reader, for providing me an album that I enjoy greatly. Tu Su is a showcase of both Thanh Lam’s artistic vision and her father’s (Thuan Yen) innovative composition. Thuan Yen must be exceedingly proud to have a daughter who can express his music gorgeously. I presume it runs in the family.

Tu Su is an aesthetically beautiful work of art that can be experienced from start to end without skips and many replays are necessary because of the brilliant collaboration between refined vocals, sharpened music, and tranquility poetries. The album kicks off with the sentimental “Em Toi” (poem by Xuan Truong) with the soothing traditional instruments. Together they have created an emotional and beautiful song. On “DangVi Tinh Yeu” (poem by Khanh Nguyen) demonstrates her skillful wordplay. The way she adorably recites, “Em dau co nho” shows her fearless attitude when it comes to push the limit.

On “Tu Su,” “Tinh Ca Mua Thu,” “Tim Anh,” and Thanh Pho Vang Anh,” she delivers breathless performances. “Tinh Yeu Khong Loi” could have been flawless if they didn’t include those nonsense remarks. Thanh Lam definitely exceeds Dam Vinh Hung vocally on this track but what is up with “Uh Yeah! Shake it like a white girl” (Not from Thanh Lam)? That kind of intro degrades the value of the song greatly. Fortunately, “Khac Vong” beautifully wraps up the album with a smooth beat and meticulous flow.

Similar to Tuan Ngoc, Thanh Lam has an incredible style of her own and she is an artist to be reckoned with. Tu Su presents both her passion for making music and her seriousness concerning her craft. Once again, my appreciate goes to Hoang for sharing with me this invaluable piece of music.

Tuan Ngoc’s Huong Toc Em is a rare collection distributed by Tektronic Music, a production I have never heard of. I have no clue when the album released but the musical arrangements are nicely engineered. The album features ten original hits from songwriters/composers such as Bao Truong, Nguyen Tat Vinh, Hoang Viet, and Truong Phu Hau, who works are unfamiliar to me.

An album like Huong Toc Em certifies that Tuan Ngoc is still one of the best Vietnamese singers. He takes on dissimilar and unpopular songs that are not too many artists have the confidence to perform. Yet, he’s still able to captivate the listeners with his robust, suave, and smooth styles. His expert treatments on Bao Truong’s romantic despairs “Tren Nhanh Rong Tinh” and “Mach Suoi Nguon” alone demonstrated his astonishing talents. “Huong Toc Em,” “Toi Yeu Em Nghiet Nga,” “Doan Tinh” and the rest of the tracks are what you would expect from Tuan Ngoc.

Unlike other albums where you can tell whether it is good or best after listening to it for the first time, Huong Toc May, as well as other albums by Tuan Ngoc, doesn’t hit you right away. You might need to give it at least five times to sink in. It takes me at least ten listens to feel its vibe. If you’re not used to Tuan Ngoc’s style, chances are you won’t like this album. If you appreciate his signature songs, you’ll be grateful for possessing it.