In a recent interview, Pham Anh Khoa claims that Lam Sao Noi Het is his best album ever. Giving that he only released two CDs, what he really mean is that he can’t make any record louder and more obnoxious than this. On the title track, he can’t seem to say everything so he wails over the noisy rock guitar riffs. “Throw Away” would be a more suitable title for this album. Yes, please throw this shit away.
This Colombian sex symbol sure knows how to work your hip as well as your hormone. Shakira’s new release, She Wolf, bounces from start to finish. While the groovy beats try to shake you, her words try to mind-sex you. On the catchy-ass Pharrell Williams-produced “Long Time,” she moans, “And when you think I can take no more / Just keep on going.” On the highly-addictive “Why Wait,” also produced by Pharrell Williams, she teases, “Why wait for later? / Hey don’t you want some action / I’m not a waiter / I like to make things happen.” Fuck yeah, let’s get it on.
Michael Bublé doesn’t need to rock. He just needs to swing. Unfortunately Bublé spends way too much time crooning soft-rock ballads on his new release Crazy Love. “Cry Me a River” starts off promising. The slick arrangement works wonders with his charming tenor. “All of Me” shows off Bublé’s swinging swag. But then the album begins to sink with “Georgia On My Mind.” He has to bring it if he goes against Ray Charles. From the title track to “Heartache Tonight,” Bublé tries to floss his way around the boring pop-rock numbers with not so much excitements.
Nowadays many young singers cover classic ballads, yet hardly any of them could give new life to the old songs. They either sound mad lazy or extremely uninspired. So far, Duong Quoc Hung is the exception. On his debut Chot Nho, Duong Quoc Hung actually sounds passionate as he breathes fresh air into the timeless tunes with the help of Nhat Trung.
Ngo Thuy Mien’s “Ban Tinh Cuoi” has been sung as a duet countless of times before, but Duong Quoc Hung and Phuong Trinh managed to make it their own. Phuong Trinh’s slightly husky, sultry vocals is a perfect match to Duong Quoc Hung’s soulful voice. They have done a superb job of supporting each other. I can’t ask for more. On Truong Sa’s “Xin Con Goi Ten Nhau,” Duong Quoc Hung maneuvers his flow effortlessly around Nhat Trung’s straight-forward, intoxicating bossa nova groove. “Mot Mai Em Di,” also by Truong Sa, gets a surprisingly pleasurable tango flavor. His version of Dien An’s “Vet Thuong Cuoi Cung” is refreshingly fervent and his rendition of Lam Phuong’s “Phut Cuoi” is so damn mesmerizing without having to belting out like diva Bang Kieu. Trinh Cong Son’s “Ru Em Tung Ngon Xuan Nong” would have been fantastic without Nhat Trung. I just want to bitch slap the dude for singing like a spineless bitch like, “ru maaai ngaan naaam.” He should have just stayed behind the board and not in the booth.
On the two newer tracks, Nhat Trung’s “Chot Nho” and Le Quang’s “Loi Tu Biet Tinh Yeu,” Duong Quoc Hung’s poignant delivery came through. He seems to make very wise choice in his song selections. Every tune was successful executed and each one displayed his range. This debut shows tremendous potential. Let’s hope he won’t fuck up.
Cam Ly is apparently not a very exciting singer. On her new release, Em Khong The Quen, she gives an oral report instead of singing Minh Vy’s mundane, Chinese-inflected songs. She hardly pushes her delivery simply because her range is as wide as a virgin’s ass. She sounds consistently flat throughout the album. “Cafe Miet Vuon” is the only tune she switches up her tone to mimic a jealous wife—something Minh Tuyet would have made more convincing. In fact, Minh Tuyet covers most of the sister’s songs with much more success. This one is going to be a Minh Tuyet’s record as well.
This debut release marks the emancipation of Hoa Mi after twenty years on hiatus. Through the test of time, the nightingale’s soprano shows no sign of deterioration. She still sounds sensational and sentimental on classic songs like Ngo Thuy Mien’s “Ban Tinh Cuoi,” Lam Phuong’s “Mot Minh” and Trinh Cong Son’s “Ru Ta Ngam Ngui.” Unfortunately, Bao Chan’s lackluster arrangements aren’t doing her ageless voice the service. Even on his own tune, “Ben Em La Bien Rong,” he brings nothing but a smooth, snoring flavor that is perfect for airplane restaurants.
Like the Chinese Twelve Girls Band, Co La is a group made up of seven beautiful Vietnamese ladies who were academically trained in traditional instruments including the bamboo flute, zither, pipa and monochord. On its debut, Dau Cham Hoi, the band brings old instruments as well as modern electronics to Vietnamese popular tunes.
Nguyen Cuong’s “Dan Cam,” highlight of the album, gets a mesmerizing fusion between eastern traditional sounds and western rhythm. The tune kicks off with the northern folksy intro and then proceeded into an upbeat tempo courtesy of Roland TR-808. While the beat is bouncy, the traditional instruments play in unison and the powerful voice never led up. “Ngua O Hue” also stands out. Love the Hue accent and the sawing of the two-stringed dan nhi to make the horse’s neighing effect.
Van Cao’s “Suoi Mo” starts off with the sensational bamboo flute taking listeners into the dreamy state of mind. The sixteen-stringed zither (dan tranh) and the monochord (dan bau) are no less hypnotizing. Trinh Cong Son’s “Hoa Vang May Do” is just achingly beautiful when being revived with traditional instruments.
When being asked about the name Co La “Rare Grass,” a member explains that grass is everywhere, but this is not just the ordinary, wild grass. I wonder if it’s the I-can-roll-it-and-smoke-it type. It’s indeed a different kind.
Following the current trend, Hong Ngoc released two albums at once to target different demographics. Vet Thuong Cuoi Cung, which featured classic tunes, is for the old heads. Qua Khu, which featured come-and-gone pop hits, is for the young fans.
On Vet Thuong Cuoi Cung, Hong Ngoc obviously tries to throw a bone for the old folks. She makes no investment in the productions and she covers each song in her sleep. The beats get drowsy; her voice gets drowsier. She simply puts Trinh Nam Son’s “Di Vang” out of its misery and into an afternoon nap. I hope that Lam Phuong won’t listen to her rendition of “Co Ua.” He might get another stroke.
The good thing about Vet Thuong Cuoi Cung is that the album makes Qua Khu more listenable. Although Hong Ngoc has such an old, smoky and husky voice, the best she could do is singing instant pop songs. On the title track, she means every word she sings: “Nhung than oi long nguoi thay doi / Anh ra di chi gi qua khu cua em / Qua khu ngay xua anh da chap nhan de den ben em.” Any lyrics with the words “anh ra di,” she nailed them. On “An Nan Muon Mang,” she cries like rain on the chorus: “Gio day anh da ra di / Anh quyet ra di / Bo mat em voi bao dam me muon phien / Em khoc nhu mua / Anh van quay di / Vi trai tim anh da qua suc nguoi oi.”
Qua Khu testifies that Hong Ngoc still holds her spot as a star in the pop market. Moving beyond that, however, is out of her reach and Vet Thuong Cuoi Cung is a proof.
Winner of Asia Entertainment’s 2007 singing competition, Quoc Khanh has quickly become one of the rising pop stars with his charming voice and cute look. On his debut, Van Mong Ve Em, he shows more than just those two qualities. He could also write and produce his own tracks. Unfortunately, the title opener, one of the two tunes he has penned, sounds like a soundtrack to a romantic Chinese TV series from the hook to the melody to the incorporation of the traditional instrument.
Production wise, Quoc Khanh obviously spends way too much time with Truc Ho. Without looking over the credit, one would have guessed that “Moi Tinh Tho” was written and arranged by his mentor. That’s not necessarily bad a thing. At least he could deliver Truc Ho songs such as “Dung Khoc Hoi Em” and “Nhu Anh Can Em” with soul and sincerity. In addition to Truc Ho, Sy Dan is responsible for a couple of arrangements including the robotic dance mix of Truc Ho’s “Van Trang Tinh Yeu” and the lethargic “Tieng Song,” in which Quoc Khanh desperately tries to please his father who has written the lyrics for the tune.
“Tieng Song” is the only song that Quoc Khanh sounds unengaged. His honesty and personality come through on the rest. Looking past the lollipop hits and lackluster productions, the strength of Van Mong Em Ve is his fullest effort. He seems to give his best. There are plenty of room and time for improvements. He is young with potentials and this is just a beginning.
On his debut Khong Gian Bach Bien, Vietnamese-Australian Ethan Thoi tries to please everyone from teenyboppers to club bangers to ballroom dancers. While he succeeds in giving “Thu Ca” a refreshing tango flavor, he flops miserably with the horrendous use of Auto-Tune effects (T-Paining too much) on “Hot Stuff.” Just when I thought “Hot Stuff” is an unsurpassable dud comes the Chinese bonus track, “Ai De Chu Ti Ya,” and the worst part is when he started to rap in Chinese. Ethan’s voice is actually decent (clear and forceful), but his song materials are pretty much garbage.