Was Doan Trang on crack when she revealed her panties at a social event? Maybe. Was she on crack when she recorded her latest release The Unmakeup? Most definitely because a singer in her right mind wouldn’t release such embarrassing work. Seriously, what the hell was she thinking when she decided to make an entire album in English?

Quoc Bao was the original producer for The Unmakeup, but he decided to drop out. “Too busy” was his reason, but the real decision was that he realized the album was going to be a piece of crap. Doan Trang’s English is so horrendous that going through the entire album was such a painful experience as if listening to a cat clawing on the chalkboard. On “My 20s,” her flow is stilted as she tries to pronounce every word correctly. She ruins the beautiful jazz arrangement on “Nocturnal” with her imperfect accent.

Doan Trang, you’re such a cutie and all, but please stop making dreadful music. If this is an American obsession, get some counseling. Get off the white power too.

Vietnamese New Year is a perfect occasion for music productions to make money; therefore, Asia and Thuy Nga, two gigantic Vietnamese entertainments, competed against each other in the same concept was inevitible. Since Asia’s Dam Cuoi Dau Xuan and Thuy Nga’s Hanh Phuc Dau Nam went head for head, I am going to compare the two side by side just for the fun of it.

Let’s kick off with the opening. As usual, Thuy Nga started out with its line up of hot babes to grab the viewer’s attention. “Ngay Tet Viet Nam,” written for the program by Hoai An, featured young singers in ao dai. They sure were great to look at, but the song was too poppy with a bit of Chinese flavor. On the Asia’s side, Son Ca and Chi Tam were older, but they sure brought in the New Year vibe with “Ngay Xua Vui Cuoi.”

Asia’s ending was weaker than Thuy Nga simply because Truc Ho was too lazy to come up with a new arrangement for Ha Thanh Xuan’s performance of “Khuc Hat An Tinh.” Although Ha Thanh Xuan was giving her best vocal delivery, she was new and therefore no way she could outdo the veteran Y Lan in the same arrangement. As soon as the music began, Y Lan was immediately came to mind. On Thuy Nga’s side, Don Ho and Ky Phuong Uyen gave a modern pop version of Van Phung’s “Ca Khuc Mung Xuan.” Not that they had done a superb job, but at least their sounded fresh.

Given that both producing similar concept, I was surprised that only one song covered on both side. Lam Nhat Tien were up against Khanh Ha for Quoc Dung’s “Em Da Thay Mua Xuan Chua?” The outcome was predictable. Khanh Ha was singing an octive higher than Lam Nhat Tien. Her version was much more soulful and had more depth than his.

Y Phuong were up against Ngoc Anh for the swing. Although I like both Y Phuong’s “Mung Xuan” and Ngoc Anh’s “Xuan Voi Doi Song Moi,” Ngoc Anh would be my choice. She rode the beat so marvelously with her smoking voice and her steps were also sexy.

For the young duets, Mai Tien Dung and Toc Tien’s “Nguoi Tinh Oi, Mo Gi” were along the line of Anh Minh and Doan Phi’s “Buoc Tinh Nong” and “Qua Cau Gio Bay.” The choreography in Mai Tien Dung and Toc Tien was fantastic and the song was fun and energic. Sy Dan’s upbeat production for “Qua Cau Gio Bay” was quite rejuvenating and Anh Minh was hot as hell too. Unfortunately, Doan Phi killed it. His wardrobe malfuction, which revealed the use of velcro along the ao dai, was embarassing. He and his dancers tried to stick them together, but couldn’t get them to adhere. He should have just take off the ao dai when singing the line, “Yeu nhau coi ao cho nhau.” It would have been perfect.

Ho Hoang Yen’s performance of Anh Viet Thu’s “Nhu Giot Sau Roi” was a close race to Thanh Ha’s performance of Ngoc Bich’s “Mong Chieu Xuan.” They both did a fantastic job of delivering the tunes and both set the stage on fire, but I have to go with Ho Hoang Yen for the sexiness. Quang Dung in Tu Cong Phung’s “Mua Xuan Tren Dinh Mua Xuan” was a close match to Tuan Khanh in Pham Duy’s “Em Le Chua Nay.” Both weren’t quite do the song its justice. Their rendition was safe and a tad boring.

As for the skit, Nguyen Ngoc Ngan’s script was much sharper than Hong Dao’s. His puns were spot on. Hoai Tam said that in order to learn English you have to learn the “technique.” Chi Tai replied with learning English until you “tet dit” (split your ass). Chi Tai, Hoai Tam and Be Ti were killing it. On the Asia’s side, Hong Dao and Quang Minh were a bit over-dramatic.

Politically speaking, Thuy Nga stayed completely free. Even though Nam Loc can’t help throwing in a few jabs in the beginning of the show, Asia also had done a decent job of sanitizing its political view for the sake of New Year. Asia also brought in Ngoc Dan Thanh. Damn, how old is she now? She must be at least in her 50s and yet still very georgous. She looked stunning in the black ao dai. I still remember watching some of her music videos in my early days in the States and she hasn’t changed much in almost twenty years. She sure is aging quite gracefully.

Even though Thuy Nga was a bit stronger in the overall production, both brought out some enjoyable hours for Tet. With Tet, viewers do not expect new tunes. They just want some good old tunes to take them back to the wonderful moments of New Year. So the productions can do no wrong covering classic ballads with the spirit of “Xuan” and bringing some joy and laughter to the show.

What had happened to the mysterious, gothic Thuy Tien who rocked my world with Ngot & Dang and Narcissus? Her newest release, Em Da Quen, is a complete transformation from an innovative gal to a complete mediocre pop chick, as if Tori Amos has turned into Britney Spears.

Thuy Tien used to bare her soul in her songs even when she sang over a minimal arrangement like “Ao Dai Trang A Oi.” Now she hides her voice behind Auto-Tune and dance beat in the title track, but shows more skins in the video. Don’t give me wrong. I don’t mind the video and glad to see that she has gained so much confidence in her appearance. What makes my heart sink is seeing her musical talent gets wasted. Not a single track on Em Da Quen isn’t crappy.

It’s easy to dismiss the path Thuy Tien has chosen, but let’s walk in her shoes (or high heels) for a minute. Thuy Tien is now more popular than before. Em Da Quen probably sells more than both her first and second album combined. Why spend so much time and energy creating something that only a handful of people can get it? With her talent, she could churn out catchy pop tunes in her sleep and make much of money off them. The choice is between the starving artist and the glamorous celebrity. Thuy Tien obviously has picked her choice. Hate the game, not the player.

Washington Post‘s Tim Carman:

One of the many attractions of pho, the Vietnamese noodle soup, is its open-endedness, its willingness to let slurpers customize their bowls however they please. Pho parlors, of course, enable diners with a small bounty of tabletop garnishes and sauces: hoisin for sweetness, Sriracha for kick, bean sprouts for crunch, limes for tang, jalapenos for heat and Thai basil for an element of anise. You, the eater, become the flavor agent in the house of pho.

Via big bro HmL.

I got mad love for Ho Hoang Yen’s sensuous vocals (something about that slightly smoky timbre) as well as her voluptuous figure. In fact, I got so much love for her that I treated her debut, Bao Tinh, from a clean slate, as if I have not heard of the songs she performed on Asia’s video before. It really is a damn shame that her first album is nothing more than a collection of tracks Asia production gathered from its various video series.

Even if I try to get past the repackaging scam, I can’t get over Asia’s sleazy method of recycling old beats. At least two of Truc Ho’s arrangements have already been used in the past. “Mot Mai Em Di” and “Khuc Thuy Du” were taken straight from Thuy Duong’s version. Ho Hoang Yen just has to sing over the same old productions. Her version of “Hanh Phuc Lang Thang” and “Bao Gio Biet Tuong Tu” is just flat and uninspiring. The “Lien Khuc Vu Thanh An” with Tuan Khanh sticks out like a soar thumb.

I am so glad that “Xin Thoi Gian Qua Mau” has been rearranged and not reusing Ngoc Lan’s. While Ngoc Lan’s gorgeous rendition remains matchless, Ho Hoang Yen’s version takes on a different direction. It’s more tender and the jazz keyboard adds some nice touch to the tune. The title track is decent as if she has brought the quiet storm to the sentimental lyrics and her version of “Bai Tango Cho Rieng Em” is simply sexy, not sure if it’s the tango or the dress.

Bao Tinh is a disappointment because Asia places her in such a rigid template that she has very little room to wiggle, let along the space to be creative. With such a hypnotizing voice, Ho Hoang Yen can offer much more than this if she is willing to explore outside of the Asia’s box.

Sure, you have always liked train, but it has become your obsession lately. We spent hours on Saturday at Curiosity Connection with your buddy May and all you focused on was a red train. We did have a great time though. Co Linh was very sweet. I was in awed watching you and May eat the pretty food she prepared for the two of you. I was also very happy that you and May getting along so well even though you two have complete opposite personality. May ran all over the place and you just glued to the train table.

After saying goodbye to May and co Linh, we went to visit grandma and your cousins. You picked up Eric’s Thomas train and didn’t let go even when you went to bed. Sunday we met up with May and co Linh again at the Hands-on House. You didn’t seem to enjoy the place too much because you didn’t get to take your nap and the place also had no train. After about an hour and a half, you went back to the front desk to play with the little trains that were for sale.

The long week went great until we went to bac Tram’s house for dinner. You misbehaved and didn’t want to eat your dinner. The result was that you got your first timeout. You will get more standing and facing the wall if you keep that up.

My Dzung’s sweet, slightly raspy voice and her nonchalant manner are a perfect combination for nhac sen (over-sentimental ballads). Unfortunately she commits two major crimes on her new release Tu Luc Em Di.

First, not hiring the best producers to accommodate her voice is like not hiring the best lawyer to defend her case. Her vocals on Ngan Trang’s “Mat Nhau Roi” is so heart-wrecking that you could just feel her pain, but the cheap, poppy beat makes the song mediocre. It’s a damn shame that the dull production ruins what could have been a chill, emotional rendition of Truong Xa’s “Xin Con Goi Ten Nhau.” Hoang Trong’s “Khong Bao Gio Quen Anh” suffers even more. The mechanical production works against her expressive delivery.

Second, she makes a huge mistake of inviting Dam Vinh Huong for a duet of Tran Thien Thanh’s “Lau Dai Tinh Ai.” The drama queen drags her down the soapy gutter with his saccharine, over-emphatic delivery. Tu Luc Em Di is a heartbreaking album not for its content, but for its wasted opportunity from such a potential vocalist.

Like Tran Thai Hoa, Ngoc Quy has a fine baritone and a taste for pre-war classics. Unlike Tran Thai Hoa, Ngoc Quy is not limited to Thuy Nga’s perfunctory productions. In his new release, Hon Co Mo Xa, Ngoc Quy covers good old standards with fresh, luscious arrangements.

Backing up by Tran Manh Hung’s exuberant semi-classical orchestration, Ngoc Quy gives a marvelous interpretation of Cung Tien’s “Huong Xua.” His effortless flow on the high register displays his vocal ability to sing classical-inflected music. With Doan Chuan and Tu Linh’s “Gui Gio Cho May Ngan Bay,” he maneuvers his way around Luu Ha An’s intoxicating jazz arrangement. His version of Pham Trong Cau’s “Mua Thu Khong Tro Lai” is tender and mellow. The bossa-nova groove adds a nice touch to Le Trong Nguyen’s “Nang Chieu.” The decision to keep the saxaphone to the minimal level when accompanying the vocalist is a wise one.

With its classiness and warm intimacy, Hon Co Mo Xa is perfect for late-night relaxation. So put your kids to bed, uncork a bottle of wine, sit back and enjoy the album with your partner. Let the music and the spirit put all your worries behind.

With Pho (small town not the well-known noodle soup), Tan Son has come up a clever concept. He covers 10 of Trinh Cong Son’s songs in which listeners will get to hear the songwriter’s love, memory and passion, compassion for the small town. Tan Son also recruited Dang Khoa, Thien Quoc and Hong Dieu to craft some modern-pop productions and electric arrangements to back up his gentle vocals.

The issue is that Tan Son is being way too modest with Trinh’s compositions. He stays faithful to the written melody. His flow is rigid and he delivers each tune dead on. “Roi Nhu Da Ngay Ngo” clocks at 7 minutes with gorgeous, spacious arrangement but his singing is so static that the tune sounds like the ending never comes. He doesn’t shift keys, accent on a weak beat or get inside the harmony, which make me think of Tung Duong and what he can do to this arrangement.

With that said, Pho is a decent cover of Trinh’s well-worn standards including “Trong Noi Dau Tinh Co,” “Chieu Mot Minh Qua Pho” and “Yeu Dau Tan Theo.” The quality surpasses big, mechanical productions like Thuy Nga’s and Asia’s. The problem is that Trinh’s music has been covered this way so much already years after years. There are rooms to move beyond. In one of Trinh’s interviews, he pointed out that he liked both Khanh Ly’s and Hong Nhung’s rendition of his songs. They brings different colors and tones to his songs; therefore, his music continues to live on. So yes, he did encourage singers to take his music to a new level.

Just came across this guy on YouTube. He talks like a ghetto chick, but quite hilarious, particularly his latest rant: “You Don’t Need A Boyfriend To Feel Good!.” His view on “Sexual Orientation Is Not A Choice” is intriguing. He argues, “I didn’t choose to be gay. Gay chose to be me.”